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Thứ Hai, 7 tháng 6, 2010

English: The Third Language in Vietnam

By Frank Trinh

While the country of Vietnam has gone through 'Ðổimới' ('renovation') to being a market economy and establishing diplomatic relations with America, as well as signing a trade agreement with them, the people of Vietnam have also gone through various stages, rushing and elbowing their way through to learn an international language as a means of relating meaningfully to the wider world. This has created what could be called 'English fever'.

English classes have mushroomed. It's hard to imagine how many public and private schools, and how many centres are running English training courses throughout Vietnam. People can see courses and examinations advertised everywhere. Students as well as public servants, who have been approved for overseas training, also have to improve their English, in order to get marks to reach admission levels allowing them to study at universities where English is used as the medium of instruction. Judging from the importance of English in Vietnam, one could refer to it as 'the first language' without this being considered an overstatement. Also, strictly speaking, it should be referred to as 'a second language', as would reasonably considered any other foreign language. Then what are the chances for it to become 'the third language'?

When commenting on English articles carried in various international journals by the European Economic Community (EEC) published in the 1970s, Alan Duff in his book The Third Language (1981) referred to the type of language used as 'the third language'. He cited some examples as an illustration:

In English, people do not say '*ace violinist' to describe a virtuoso violinist. They say 'top violinist'. They do not write '*indispensably necessary' to describe something which is most necessary. 'Necessary' is enough, but if it needs emphasis then they write 'absolutely necessary'. When referring to knowledge which is gained, they do not say '*knowledge is received'. They say 'knowledge is acquired'. When referring to a particular situation which has caused a division or split between some group and another, they do not say '*opened a wedge' but rather say 'caused a rift'. Even if the translator or writer wished to use the word 'wedge', in English, 'wedge' does not co-occur with 'open'. A 'wound' can 'open' but a 'wedge is driven' or 'introduced'. When talking about a wound which takes time to heal, people do not say '*the wound healed poorly and late', but 'the wound healed badly'.

The above mistakes cited were made by non-English-speaking background writers. Even though they had a sound knowledge of English, when they wrote, they thought in their mother tongue, then translated it into English. As a result, their writing does not sound natural nor idiomatic, and is not the type of English that American, Australian or for that matter English people would use in such a context. They are collocational mismatches.

The fact that English in Vietnam nowadays is looked upon as 'the third language', as viewed by Alan Duff, is borne out by the many instances of such a phenomenon. Let's consider the following:

At the entrance to a seafood restaurant named Phố Biển ('Ocean Street') in the heart of Hanoi, there was a wooden board dangling in the air and held by metal chain. On this board was a group of words, artistically carved in both Vietnamese and English. If one took careful notice, there was a Vietnamese line saying: 'Cámơn sựchọnlựa của quýkhách'. Below it was the English equivalent: 'Thank you for your choosing'. Those who have some knowledge of English know what 'choosing' means, but when they read this phrase, they should automatically ask: 'Choosing what in order to be thankful?' If someone wanted to be adamant about this they could say it was readily understood in Vietnamese, but such a phrase in English is grammatically incorrect. It is a clause lacking an object. In order to avoid this grammatical error one could write: 'Thank you for your choice', but for the purpose of using it in a correct context in English, perhaps one should write: 'Thank you for your patronage'.

At the base of the board, the phrase: 'Giờphụcvụ' was rendered into English as 'Serving time'. Grammatically speaking there is nothing wrong with this, and nothing to blame as far as word meaning goes. 'Giờ' means 'time' and 'phụcvụ' means 'serving'. The only problem is that the term 'serving time' suggests in the English-speaker's mind the time served in prison or time served in military service. In this context, people should write: 'Business hours/Hours of business', 'Trading hours', 'Opening hours', 'Operating hours', or in the case of an office, 'Office hours'. In the case of 'Serving time' at a doctor's surgery, it would be 'Surgery hours' or 'Consulting hours'.

At the bottom of the staircase of the four-star Dânchủ ('Democracy') Hotel which lies close to Hồ Gươm ('Sword Lake'), one can see, right in the middle of a green rectangular mat, an oval-shaped centrepiece, inscribed with the words in bold white print: 'Good morning'. That is to say, in the morning, before you start walking up the stairs, this greeting is there, welcoming you to the hotel. But if you were a nit-picking guest, you may ask yourself: 'How about the other times of the day, like afternoon, evening and night? Does the same greeting still apply? In order to avoid being corrected by such people, perhaps the mat bearing the greeting should say 'Welcome' to be in line with its role as 'a welcome mat'.

In Haiphong there is a four-star hotel, 8 storeys high, built about three years ago in Lạch Tray Street, adjacent to a rather large round artificial lake with an island in the middle, which is used as a Youth Activity Centre. It is not known if the hotel owner has used the name of the street, cutting it down to 'Tray' as in The 'Tray' Hotel, or if the English word 'tray' is insinuated, which means 'a flat receptacle with raised edges on which food, drinks... are served up to people'. Perhaps the term 'tray' was suggested to the hotel owner by someone, who supposedly had a good knowledge of Shakespeare and the Queen's English. The only problem is that with such a 'posh' hotel and the name 'Tray', to a native-speaker of English might it be considered a well-chosen name? Existing hotels in Vietnam, owned mostly by foreigners, have rather familiar names, such as Métropole, Hilton, Eden, Sofitel, Novotel, Omni, Rex, or New World...The word 'tray' in Vietnamese has no meaning, but when pronounced with a Northern accent, it sounds like 'chay', as in 'ăn chay', meaning 'having food without meat', or 'being a vegetarian', as when describing a Buddhist.

Also, in the hotel one can see on the walls of the lift many colourful pictures advertising the hotel's many facilities, such as the swimming pool, spa pool, massage room, conference rooms, breakfast bar, cafes, bars and restaurants and gymnasium... Below these impressive pictures there is a line saying: 'So good to enjoy, so hard to forget'. A Vietnamese with a meagre knowledge of English would be able to understand what message the hotel would like to convey which is: 'Guests will enjoy the facilities so much to the extent that they will forever remember and find them hard to forget'. The only problem is that, when asking a native-speaker of English what they would think on reading this slogan, the response may be: "We do say 'So hard to forget', but we would not say 'So good to enjoy'". It might be argued that something new can come from something old, and consequently a new catchphrase is created. A former BBC colleague of mine heard the title of a movie 'Dressed to kill', and he knowingly changed it to 'Undressed to kill'. Needless to say he caused some mirth. However, with English in a state of flux as it is at present in Vietnam, it might be best to stick to the proper and common fixed expressions. The common fixed expression in English used to describe the first situation is 'So easy to remember, so hard to forget'. In order to avoid using such an unidiomatic English slogan 'So good to enjoy, so hard to forget', but which still retains the words 'enjoy' and 'remember', perhaps native-speakers might suggest concise, compact phrases such as 'Make your stay enjoyable and memorable' or 'Have an enjoyable and memorable stay', or 'Helping to make your stay enjoyable and memorable'.

Going up to 'The Top of the Roof Free-Form Tray Pool', as stated in the Hotel brochure, instead of just 'Roof Top Swimming Pool', written on the top edge of the pool and painted in blue was the depth indicating 1.70 metres. Next to this, was a board with a sign, written in English: 'Thou shalt not dive', indicating that the depth of the pool did not preclude diving, so it was a warning not to stand on the edge at this point and dive head-first into it, unless you wanted to kill yourself. The funny thing was that the style of the warning sounded like the 11th Commandment. It's not known if the 'so-called' English-language advisor, who wrote this commandment wanted to show off his knowledge of words and their meaning, or whether he just wanted to give the guests a belly-laugh, either intentionally or unintentionally. All we know is that under normal circumstances the native speaker of English would write: 'No diving allowed'.

Patrons at The Tray Hotel have to pay US$25 for a standard room with a double bed, which includes breakfast. Every time guests go to breakfast they have to present a voucher to the reception area indicating the room number, and to verify that guests are bona-fida. If the voucher is carefully scrutinised, it states on one side, written in Vietnamese, and the other side, written in English, the types of breakfast available. The English original text states that the breakfast types are 'Buffet', 'American', 'Continental'... The Vietnamese translation, however, states that breakfast types are 'Tựchọn', 'KiểuMỹ', 'KiểuChâuÁ'. The term 'Continental' is translated as 'KiểuChâuÁ' ('Asian type'). This is possibly a case of mistaking the word 'Continental' for the word 'Oriental'. A 'Continental breakfast' is a European-type light breakfast, consisting of croissants or toasted bread, served with butter and conserves, accompanied by tea or coffee. It is different from an English breakfast, which consists of toasted bread and conserves, cooked eggs and meats or baked beans, fruit, fruit juices, and tea or coffee.

While shopping in Vietnam, you can find shops selling amenities for tourists, and for those Vietnamese with extra money to spend on the niceties of life. For instance, the buyer can pick up a neat, soft nylon-type tissue cover, decorated with colourful flowers and 'feel-good' slogans on the front such as 'Forever Love', or 'Just for Fun'... One of the slogans however was wrong and it read in English: 'Thingking for you' (verbatim) which in fact, should be 'Thinking of you' if it were correct English. On the inside of the little bag, there was the word 'Handkerchiefs' written in two words 'Handker chiefs', instead of one word. Errors of this nature can be attributed to perhaps absent-mindedness or poor English grammar and spelling.

However, the label 'Made in Hanoi', which was attached to the headgear, footwear and the likes, manufactured in the country's capital city, can be used as another example of 'the third language' in action in Vietnam.

Think about it!

Frank Trinh

Sydney, January 2002

The Passion of Christ Illustrated by James J. Tissot

Free Email Bible Study Free online  Bible study on Colossians after Easter

James J. Tissot (French painter and illustrator, 1836-1902) was a well-known French impressionist painter, who in his later years travelled twice to the Holy Land in order to produced a series of 700 accurate watercolor drawings to illustrate the Old and New Testaments -- especially the life of Christ. The numbers of the pictures are from a catalog of an exposition of these paintings at the Art Institute of Chicago, January 26-February 23, 1899. Good images of most of Tissot's paintings of the Gospels are now available for viewing on the Brooklyn Museum website. I hope you enjoy Tissot's exquisite work as much as I have. -- Pastor Ralph

Thursday, Last Supper

    James J. Tissot, 'The Last Supper: Judas Dips Bread into the Bowl'  (1896), Brooklyn Museum, watercolor.
    James J. Tissot, 'The Last Supper: Judas Dips Bread into the Bowl' (1896), Brooklyn Museum, watercolor. Larger image.
  1. The Evil Counsel. The Pharisees and the Herodians Conspire against Jesus. The Pharisees Conspire Together.
  2. Judas Goes to the Chief Priests
  3. Jesus Going to the Mount of Olives at Night
  4. Holy Thursday
  5. The Man Bearing the Pitcher. Man Bearing a Pitcher
  6. The Last Supper, (The Jews Passover)
  7. The Last Supper: Judas dipping his hand in the dish. The Last Supper
  8. The Washing of the Feet (24.8 x 42.4 cm). Jesus Washes the Feet of the Disciples
  9. The Communion of the Apostles. Communion of the Apostles
  10. Judas Leaves the Cenacle. Judas Retires from the Supper
  11. The Last Sermon of Our Lord. Last Discourse of Our Lord Jesus
  12. Our Lord Jesus Christ
  13. Address to Philip: 'He who has seen me has seen the Father.'
  14. Protestations of St. Peter: 'Although all shall fall away, yet I will not.'
  15. St. Peter

Garden of Gethsemane

James J. Tissot, 'Agony in the Garden' (1896), Brooklyn Museum,  watercolor.
James J. Tissot, 'Agony in the Garden' (1896), Brooklyn Museum, watercolor. Larger image.
  1. My Soul Is Sorrowful unto Death. My Soul Is Exceedingly Sorrowful, Even unto Death
  2. The Grotto of the Agony. Agony in the Garden
  3. You Could Not Watch One Hour with Me. Disciples Fall Asleep. Could you not watch with me one hour?
  4. The Procession of Judas. Judas Approaching with a Large Crowd
  5. The Kiss of Judas. Judas Betrays Jesus with a Kiss
  6. Judas Iscariot
  7. The Guards Falling Backwards. Guards falling backwards. They Drew Back and Fell to the Ground
  8. St. James the Less
  9. The Ear of Malchus. Peter Cuts Off Malchus' Ear
  10. The Healing of Malchus. Jesus Healing Malchus
  11. The Bridge of Kedron. The Brook of Kidron (Psalm 110:7)
  12. The Flight of the Apostles. They All Forsook Him and Fled.
  13. Saint Peter and Saint John Follow from Afar. St. Peter and St. John Follow Afar Off

James J. Tissot, 'Friday Morning: Jesus Bound in Prison' (1896),  Brooklyn Museum, watercolor.
James J. Tissot, 'Friday Morning: Jesus Bound in Prison' (1896), Brooklyn Museum, watercolor. Larger image.

High Priest Trial

  1. The Tribunal of Annas. Jesus Is Led to or Taken before Annas
  2. The False Witnesses. The False Witnesses Before Caiaphas False Witnesses
  3. Peter's First Denial of Jesus. Peter Disowns Jesus the First Time
  4. Peter's Second Denial of Jesus. Peter Disowns Jesus the Second Time
  5. Annas and Caiaphas
  6. The Torn Cloak: Jesus Condemned to Death by the Jews. The Chief Priest Tears / Rends His Clothes
  7. The Third Denial of Peter. Jesus' Look of Reproach. The Lord Looked upon Peter
  8. The Cock Crowed
  9. The Sorrow of St. Peter. Peter Goes Out Weeping Bitterly

Trial by the Chief Priests

  1. Maltreatments in the House of Caiaphas. Christ Is Mocked in the House of Caiaphas
  2. Good Friday Morning: Jesus in Prison. Friday Morning: Jesus Bound in Prison
  3. The Morning Judgment. The Council the Morning of Good Friday
  4. Judas Returns the Money. Judas Repents and Returns the Price of Blood or the Blood Money
  5. Judas Hangs Himself. Judas Hangs Himself
  6. The Apostles' Hiding Place. Having Deserted Jesus, the Disciples Hide in the Valley of Hinnom
  7. Jesus Is Led from Caiaphas to Pilate. Jesus Is Led from Caiaphas to Pilate

Jesus before Pilate and Herod

James J. Tissot, 'Jesus Is Flooged in the Face' (1896), Brooklyn  Museum, watercolor.
James J. Tissot, 'Jesus Is Flogged in the Face' (1896), Brooklyn Museum, watercolor. Larger image.
  1. Jesus Appears before Pilate for the First Interview. Jesus Before Pilate the First Time
  2. Portrait of Pilate
    Pilate's Wife Warns Him of a Dream. Pilate's Wife Warns Pilate of a Dream
  3. Jesus Before Herod
  4. Jesus Is Led Back from Herod to Pilate. Jesus Is Sent Back from Herod to Pilate / Led Back to Pilate
  5. The Scourging on the Front. Jesus Is Flogged in the Face
  6. The Scourging on the Back. Jesus Is Flogged on the Back
  7. The Scapegoat
  8. The Crowning of Thorns. The Crown of Thorns
  9. Behold the Man. Ecce Homo. Ecce homo, Behod the Man! Ecce Homo, Behold the Man
  10. Jesus Is before Pilate for the Second Interview. Jesus Before Pilate the Second Time
  11. Barabbas
  12. Let Him Be Crucified! Crucify Him!
  13. Pilate Washes His Hands. Pilate Washing His Hands
  14. The Holy Stair. The Holy Stairs
  15. Jesus Leaves the Praetorium. Jesus Leaving the Governor's Judgment Hall
  16. Bird's-Eye View of the Forum, Jesus Hears His Death Sentence
  17. The Judgment on the Gabbatha. Pilate Pronounces Judgment from the Gabbatha
  18. The Title on the Cross. The Inscription on the Cross
  19. They Put His Own Clothes on Him

Via Dolorosa

James J. Tissot, 'Simon of Cyrene Is Compelled to Bear the Cross'  (1896), Brooklyn Museum, watercolor.
James J. Tissot, 'Simon of Cyrene Is Compelled to Bear the Cross' (1896), Brooklyn Museum, watercolor. Larger image.
  1. Jesus Bearing the Cross. Christ / Jesus Bearing/Carrying His Cross
  2. Jesus Falls Beneath the Cross. Jesus falls beneath the cross. Christ / Jesus Falls Beneath His Cross
  3. Jesus Meets His Mother. Jesus meets his mother. Jesus Meets His Mother
  4. Simon the Cyrenian Compelled to Carry the Cross with Jesus. Simon the Cyrenian compelled to carry the cross with Jesus. Simon of Cyrene Is Compelled to Bear the Cross (Is Forced to Carry the Cross)
  5. Simon of Cyrene and his two sons Alexander and Rufus
  6. A Holy Woman Wipes the Face of Jesus. Veronica wipes Jesus face
  7. The Holy Face or Countenance (Veronica)
  8. The Daughters of Jerusalem. The Daughters of Jerusalem

Crucifixion

James J. Tissot, 'Pardoning the Repentant Thief' (1896), Brooklyn  Museum, watercolor.
James J. Tissot, 'Pardoning the Repentant Thief' (1896), Brooklyn Museum, watercolor. Larger image.
  1. The Procession Nearing Calvary. The Procession Arrives at Calvary
  2. The Holy Women Watch from Afar. The Holy Women Look on From Afar / Watching from a Distance
  3. The disciples, having left their hiding place, watch from afar
  4. Jesus is taken from the old cistern, which, according to an ancient tradition, he was imprisoned while awaiting the crucifixion
  5. Jesus Stripped of His Clothing. Jesus stripped of his clothing. Jesus Is Stripped of His Raiment
  6. Wine Mixed with Myrrh or Gall
  7. The First Nail. The First Nail
  8. The Nail Driven into the Feet
  9. The Raising of the Cross. The Erection or Raising of the Cross
  10. The Five Wedges. The Wedging of the Cross
  11. Pardon of the Good Thief. (detail) Pardoning the Penitent or Repentant Thief (The Penitent Thief detail)
  12. They Parted His Raiment and Cast Lots
  13. And Sitting Down They Watched Him There
  14. What our Savior Saw from the Cross. What our Saviour saw from the cross.
  15. Sabat Mater (Woman, Behold Your Son)
  16. The Sorrowful Mother (Mater Dolorosa), opaque watercolor over graphite on gray wove paper, 32.7 x 23 cm.
  17. My God, why hast Thou forsaken me? Eloi, Eloi, lama sabachthani. My God, my God, why have you forsaken me?
  18. I thirst. Vinegar given to Jesus. I Am Thirsty
  19. It is finished! Consummatum est! It Is Finished (It Is Finished larger)

Death

James J. Tissot, 'Soldier with Spear Pierces jesus in His Side'  (1896), Brooklyn Museum, watercolor.
James J. Tissot, 'Soldier with Spear Pierces jesus in His Side' (1896), Brooklyn Museum, watercolor. Larger image.
  1. The Death of Jesus
  2. The crowd left beating their breasts. All the people who had gathered to witness this sight ... beat their breasts and went away
  3. Earthquake
  4. The Chasm in the rock in the Cave beneath Calvary. Chasm in the Rock of Calvary
  5. The Confession of Saint Longinus. The Confessions of the Centurion Longinus
  6. The Centurion. The Centurion
  7. The Dead Appear in the Temple. The Dead Appear in the Temple
  8. The Dead Appear in Jerusalem. Apparition of the Dead Appear in Jerusalem
  9. The Thieves Legs Are Broken. Soldiers Break the Bones of the Thieves
  10. The Soul of the Penitent Thief
  11. The strike of the Lance. Soldier with Spear Pierces Jesus in His Side
  12. Confession of the Centurion. Centurion Praising God

Burial

  1. Jesus Alone on the Cross. Jesus Alone on the Cross, opaque watercolor over graphite on gray wove paper), 32.7 x 23 cm.
  2. Joseph of Arimathea Seeks Herod. Joseph of Arimathea in Pilate's House
  3. Joseph of Arimathea. Joseph of Arimathea
  4. The Descent from the Cross. Descent from the cross.
  5. The Holy Virgin Receives the Body of Jesus. Holy Virgin Receives the Body of Her Son (bw)
  6. The body of Jesus is carried to the anointing stone. The Body of Jesus Is Carried to the Stone of Anointing
  7. The Holy Virgin kisses the face of Jesus before it is wrapped in the winding-sheet. The Stone of Anointing - the anointing of the body of Jesus (larger)
  8. Jesus Carried to the Tomb. Christ Jesus Is Carried to the Tomb
  9. Jesus in the Sepulchre. Christ in the Tomb
  10. The Two Marys Watch the Tomb of Jesus. The Two Marys Watch at the Tomb of Jesus

Resurrection

James J. Tissot, 'Resurrection' (1896), Brooklyn Museum,  watercolor.
James J. Tissot, 'Resurrection' (1896), Brooklyn Museum, watercolor. Larger image.
  1. The Watch over the Tomb. The Roman Guards at the Tomb
  2. The Resurrection. The Resurrection
  3. Mary Magdalene and the Holy Women at the Tomb. Mary Magdalene and the Holy Women at the Tomb
  4. The Angel Seated upon the Stone of the Tomb.
  5. Mary Magdalene runs and tells the disciples. They Have Taken the Lord Out of the Tomb
  6. Saint Peter and Saint John Run to the Sepulchre. Peter and John Run to the Sepulcher or Grave
  7. Mary Magdalene Questions the Angels in the Tomb. Mary Magdalene in the Tomb
  8. Jesus Appears to Mary Magdalene
  9. Do Not Hold on to Me (Noli me tangre). Do Not Hold on to Me (Noli me tangre)
  10. Christ Appears to Peter
  11. Jesus Appears to the Holy Women. Christ Appearing to the Holy Women
  12. Disciples on Their Way to Emmaus
  13. He Vanished from their Sight. He Vanished from their Sight

Resurrection Appearances and Ascension

  1. The Appearance of Christ in the Upper Room. Christ Appears to the Eleven
  2. The Disbelief of St. Thomas The Doubting Thomas
  3. St. Thomas
  4. Jesus Christ Appears at the Shore of Lake Tiberias
  5. Peter Jumps into the Water. Peter throws himself into the water
  6. The Second Miraculous Draft of Fish. The second miraculous draught of fish
  7. Jesus Eats Breakfast with His Disciples. Jesus Eats with Disciples
  8. Feed My Lambs. Feed My Lambs
  9. Ascension from the Mount of Olives and he disappeared from their sight
  10. The Ascension. The Ascension

Palm Sunday

James J. Tissot, 'Jesus Beheld the City and Wept over It' (1896),  Brooklyn Museum, watercolor.
James J. Tissot, 'Jesus Beheld the City and Wept over It' (1896), Brooklyn Museum, watercolor. Larger image.
  1. The Foal of Bethphage. The Foal of Bethpage Jesus Sent Two Disciples...
  2. The Procession on the Mount of Olives. Palm Sunday Procession on the Mount of Olives
  3. The Lord Wept. Jesus Beheld the City and Wept over It.
  4. The Procession in the Streets of Jerusalem. Procession through the Streets of Jerusalem. Procession in theStreets of Jerusalem
  5. The Procession in the Temple. Multitude that followed Jesus in the Temple
  6. The Chief Priests Take Counsel Together

Monday

  1. The Accursed Fig Tree
  2. Merchants Chased from the Temple. Christ driving out of the temple
  3. Jesus Forbids Carrying of Loads in the Forecourt of the Temple
  4. He Heals the Lame in the Temple
  5. Jesus Goes in the Evening to Bethany. Christ Retreats to the Mountain at Night. Jesus Goes Out to Bethany at Night

Tuesday

  1. The Gentiles ask to See Jesus (John 12:20-21)
  2. The Voice from on High
  3. Chief Priests: By what authority...?
  4. The Cornerstone
  5. The Tribute Money
  6. St. Luke
  7. The Pharisees Question Jesus
  8. Woe to You, Scribes and Pharisees

Wednesday

  1. Jerusalem, Jerusalem. Jerusalem, Jerusalem
  2. The Widow's Mite
  3. The Disciples Admire the Buildings of the Temple. Master, Stones of the Temple (Mark 13:1)
  4. The Prophesy of the Destruction of the Temple. Jesus fortells the destruction of the Temple
  5. The Meal in the House of the Pharisee. The Alabaster Box. Different is: The Alabaster Box of Very Precious Ointment (Magdalene)

Thursday

The Procession of the Apostles

Christmas

Why devote a Web site to the Passion of Jesus?

by Victor Hoagland, C.P.

The  Passion of Jesus ChristThe Passion of Jesus — his notorious suffering and painful, public death by crucifixion in Jerusalem at the beginning of the Common Era — is a story Christians tell because it is a vital to what they believe. It is a story initially told by Jesus Christ, who rose from the dead.

As we have it today, the Passion of Jesus would never have been transmitted through the centuries unless Jesus himself had not made it part of his Easter revelation. Historians of his time never mention it; Jesus was far too insignificant for their attention. And even if he were significant, a story of crucifixion was not likely to be told. Only scattered references to crucifixion are found in the writings of Jesus’ contemporaries, who were repulsed by grisly tales of that babaric act.

Nor did the disciples of Jesus, left to themselves, leave us this story. Indeed, the gospels describe his followers dismayed by what happened in Jerusalem those fateful days; they were unlikely to report a tragic failure that was also their own. Look at the account of the two disciples leaving the city on the day of Easter for Emmaus (Luke 24,13-35). They are disciples wanting to put the dreadful memory of Good Friday behind them. No, by themselves Jesus’ disciples would never have left us a story of what they saw.

It was Jesus himself, risen from the dead, who initiated the retelling of the story of his passion and death, and he changed its meaning forever.

The Easter gospels describe it. Appearing to his disciples at Jerusalem that day “Jesus came and stood among them and said to them, ‘Peace be with you.’ When he had said this, he showed them his hands and his side. Then the disciples were glad when they saw the Lord.” ( John 20,19-21 ) Walking with the Emmaus disciples that same day, Jesus said: “‘Was it not necessary that the Christ should suffer these things and enter into his glory?’ And beginning with Moses and all the prophets, he interpreted to them in all the scriptures the things concerning himself.” (Luke 24,26-27) The Passion narratives as we have them in the gospels grew from this first telling by the Risen Christ.

The Passion of Jesus is an Easter story, and so it brings hope. Risen from the dead, Jesus did not hide his wounds; he showed them to his disciples. Jesus did not dismiss his sufferings and death as an embarrassing setback; he revealed the power of God in them. And instead of a story that accused them, Jesus made the hearts of his followers burn by recalling it, and brought them to rejoicing.

sign  of PassionistsAnd so we keep his Passion in mind as an Easter story. It should not be dissected with an historian's eyes, though it is rooted in history. Rather, like the Emmaus disciples, we should look at it from the perspective of our own sorrows and questions. And as he did for them, the Risen Christ will help us reinterpret our own lives in the light of his. Immense benefits flow from this mystery: graces of rejoicing, patience and compassion.

These pages are offered to keep this great mystery in mind. It is the story of our salvation, the story of our hope. A wise and tender book, it tells us how to think about life, how to live, how to use this world, what to expect, what to hope for.

Lady Julian of Norwich said,

The Passion of Christ is comfort for us.
He comforts us readily and kindly and says:
All will be well, and every kind of thing will be well.

This Web site exists to share the comfort of God's love, as shown in the Passion of Jesus.

See also THE PASSION OF CHRIST IN THE GOSPELS.

The sufferings of Our Lord, which culminated in His death upon the cross, seem to have been conceived of as one inseparable whole from a very early period. Even in the Acts of the Apostles (i, 3) St. Luke speaks of those to whom Christ "shewed himself alive after his passion" (meta to mathein autou). In the Vulgate this has been rendered post passionem suam, and not only the Reims Testament but the Anglican Authorized and Revised Versions, as well as the medieval English translation attributed to Wyclif, have retained the word "passion" in English. Passio also meets us in the same sense in other early writings (e.g. Tertullian, "Adv. Marcion.", IV, 40) and the word was clearly in common use in the middle of the third century, as in Cyprian, Novatian, and Commodian. The last named writes:

"Hoc Deus hortatur, hoc lex, hoc passio Christi
Ut resurrecturos nos credamus in novo sæclo."

St. Paul declared, and we require no further evidence to convince us that he spoke truly, that Christ crucified was "unto the Jews indeed a stumbling-block, and unto the Gentiles foolishness" (1 Corinthians 1:23). The shock to Pagan feeling, caused by the ignominy of Christ's Passion and the seeming incompatibility of the Divine nature with a felon's death, seems not to have been without its effect upon the thought of Christians themselves. Hence, no doubt, arose that prolific growth of heretical Gnostic or Docetic sects, which denied the reality of the man Jesus Christ or of His sufferings. Hence also came the tendency in the early Christian centuries to depict the countenance of the Saviour as youthful, fair, and radiant, the very antithesis of the vir dolorum familiar to a later age (cf. Weis Libersdorf, "Christus-und Apostel-bilder", 31 sq.) and to dwell by preference not upon His sufferings but upon His works of mercifulness, as in the Good Shepherd motive, or upon His works of power, as in the raising of Lazarus or in the resurrection figured by the history of Jonas.

But while the existence of such a tendency to draw a veil over the physical side of the Passion may readily be admitted, it would be easy to exaggerate the effect produced upon Christian feeling in the early centuries by Pagan ways of thought. Harnack goes too far when he declares that the Death and Passion of Christ were regarded by the majority of the Greeks as too sacred a mystery to be made the subject of contemplation or speculation, and when he declares that the feeling of the early Greek Church is accurately represented in the following passage of Goethe: "We draw a veil over the sufferings of Christ, simply because we revere them so deeply. We hold if to be reprehensible presumption to play, and trifle with, and embellish those profound mysteries in which the Divine depths of suffering lie hidden, never to rest until even the noblest seems mean and tasteless" (Harnack, "History Of Dogma", tr., III, 306; cf. J. Reil, "Die frühchristlichen Darstellungen der Kreuzigung Christi", 5). On the other hand, while Harnack speaks with caution and restraint, other more popular writers give themselves to reckless generalizations such as may be illustrated by the following passage from Archdeacon Farrar: "The aspect", he says, "in which the early Christians viewed the cross was that of triumph and exultation, never that of moaning and misery. It was the emblem of victory and of rapture, not of blood or of anguish." (See "The Month", May, 1895, 89.) Of course it is true that down to the fifth century the specimens of Christian art that have been preserved to us in the catacombs and elsewhere, exhibit no traces of any sort of representation of the crucifixion. Even the simple cross is rarely found before the time of Constantine (see CROSS), and when the figure of the Divine Victim comes to be indicated, it at first appears most commonly under some symbolical form, e.g. that of a lamb, and there is no attempt as a rule to represent the crucifixion realistically. Again, the Christian literature which has survived, whether Greek or Latin, does not dwell upon the details of the Passion or very frequently fall back upon the motive of our Saviour's sufferings. The tragedy known as "Christus Patiens", which is printed with the works of St. Gregory Nazianzus and was formerly attributed to him, is almost certainly a work of much later date, probably not earlier than the eleventh century (see Krumbacher, "Byz. Lit.", 746).

In spite of all this it would be rash to infer that the Passion was not a favourite subject of contemplation for Christian ascetics. To begin with, the Apostolical writings preserved in the New Testament are far from leaving the sufferings of Christ in the background as a motive of Christian endeavour; take, for instance, the words of St. Peter (1 Peter 2:19, 21, 23): "For this is thankworthy, if for conscience towards God, a man endure sorrows, suffering wrongfully"; "For unto this are you called: because Christ also suffered for us, leaving you an example that you should follow his steps"; "Who, when he was reviled, did not revile", etc.; or again: "Christ therefore having suffered in the flesh, be you also armed with the same thought" (ibid., iv, 1). So St. Paul (Galatians 2:19): "with Christ I am nailed to the cross. And I live, now not I; but Christ liveth in me"; and (ibid., v, 24): "they that are Christ's, have crucified their flesh, with the vices and concupiscences" (cf. Colossians 1:24); and perhaps most strikingly of all (Galatians 6:14): "God forbid that I should glory, save in the cross of our Lord Jesus Christ; by whom the world is crucified to me, and I to the world." Seeing the great influence that the New Testament exercised from a very early period upon the leaders of Christian thought, it is impossible to believe that such passages did not leave their mark upon the devotional practice of the West, though it is easy to discover plausible reasons why this spirit should not have displayed itself more conspicuously in literature. It certainly manifested itself in the devotion of the martyrs who died in imitation of their Master, and in the spirit of martyrdom that characterized the early Church.

Further, we do actually find in such an Apostolic Father as St. Ignatius of Antioch, who, though a Syrian by birth, wrote in Greek and was in touch with Greek culture, a very continuous and practical remembrance of the Passion. After expressing in his letter to the Romans (cc. iv, ix) his desire to be martyred, and by enduring many forms of suffering to prove himself the true disciple of Jesus Christ, the saint continues: "Him I seek who dies on our behalf; Him I desire who rose again for our sake. The pangs of a new birth are upon me. Suffer me to receive the pure light. When I am come thither then shall I be a man. Permit me to be an imitator of the Passion of my God. If any man hath Him within himself, let him understand what I desire, and let him have fellow-feeling with me, for he knoweth the things which straiten me." And again he says in his letter to the Smyrnæans (c. iv): "near to the sword, near to God (i.e. Jesus Christ), in company with wild beasts, in company with God. Only let it be in the name of Jesus Christ. So that we may suffer together with Him" (eis to sympathein auto).

Moreover, taking the Syrian Church in general — and rich as it was in the traditions of Jerusalem it was far from being an uninfluential part of Christendom — we do find a pronounced and even emotional form of devotion to the Passion established at an early period. Already in the second century a fragment preserved to us of St. Melito of Sardis speaks as Father Faber might have spoken in modern times. Apostrophising the people of Israel, he says: "Thou slewest thy Lord and He was lifted up upon a tree and a tablet was fixed up to denote who He was that was put to death — And who was this? — Listen while ye tremble: — He on whose account the earth quaked; He that suspended the earth was hanged up; He that fixed the heavens was fixed with nails; He that supported the earth was supported upon a tree; the Lord was exposed to ignominy with a naked body; God put to death; the King of Israel slain by an Israelitish right hand. Ah! the fresh wickedness of the fresh murder! The Lord was exposed with a naked body, He was not deemed worthy even of covering, but in order that He might not be seen, the lights were turned away, and the day became dark because they were slaying God, who was naked upon the tree" (Cureton, "Spicilegium Syriacum", 55).

No doubt the Syrian and Jewish temperament was an emotional temperament, and the tone of their literature may often remind us of the Celtic. But in any case it is certain that a most realistic presentation of Our Lord's sufferings found favour with the Fathers of the Syrian Church apparently from the beginning. It would be easy to make long quotations of this kind from the works of St. Ephraem, St. Isaac of Antioch, and St. James of Sarugh. Zingerle in the "Theologische Quartalschrift" (1870 and 1871) has collected many of the most striking passages from the last two writers. In all this literature we find a rather turgid Oriental imagination embroidering almost every detail of the history of the Passion. Christ's elevation upon the cross is likened by Isaac of Antioch to the action of the stork, which builds its nest upon the treetops to be safe from the insidious approach of the snake; while the crown of thorns suggests to him a wall with which the safe asylum of that nest is surrounded, protecting all the children of God who are gathered in the nest from the talons of the hawk or other winged foes (Zingerle, ibid., 1870, 108). Moreover St. Ephraem who wrote in the last quarter of the fourth century, is earlier in date and even more copious and realistic in his minute study of the physical details of the Passion. It is difficult to convey in a short quotation any true impression of the effect produced by the long-sustained note of lamentation, in which the orator and poet follows up his theme. In the Hymns on the Passion ("Ephraem Syri Hymni et Sermones," ed. Lamy, I) the writer moves like a devout pilgrim from scene to scene, and from object to object, finding everywhere new motives for tenderness and compassion, while the seven "Sermons for Holy Week" might both for their spirit and treatment have been penned by any medieval mystic. "Glory be to Him, how much he suffered!" is an exclamation which bursts from the preacher's lips from time to time. To illustrate the general tone, the following passage from a description of the scourging must suffice:

"After many vehement outcries against Pilate, the all-mighty One was scourged like the meanest criminal. Surely there must have been commotion and horror at the sight. Let the heavens and earth stand awestruck to behold Him who swayeth the rod of fire, Himself smitten with scourges, to behold Him who spread over the earth the veil of the skies and who set fast the foundations of the mountains, who poised the earth over the waters and sent down the blazing lightning-flash, now beaten by infamous wretches over a stone pillar that His own word had created. They, indeed, stretched out His limbs and outraged Him with mockeries. A man whom He had formed wielded the scourge. He who sustains all creatures with His might submitted His back to their stripes; He who is the Father's right arm yielded His own arms to be extended. The pillar of ignominy was embraced by Him who bears up and sustains the heaven and the earth in all their splendour" (Lamy, I, 511 sq.). The same strain is continued over several pages, and amongst other quaint fancies St. Ephraem remarks: "The very column must have quivered as if it were alive, the cold stone must have felt that the Master was bound to it who had given it its being. The column shuddered knowing that the Lord of all creatures was being scourged". And he adds, as a marvel, witnessed even in his own day, that the "column had contracted with fear beneath the Body of Christ".

In the devotional atmosphere represented by such contemplations as these, it is easy to comprehend the scenes of touching emotion depicted by the pilgrim lady of Galicia who visited Jerusalem (if Dr. Meester's protest may be safely neglected) towards the end of the fourth century. At Gethsemane she describes how "that passage of the Gospel is read where the Lord was apprehended, and when this passage has been read there is such a moaning and groaning of all the people, with weeping that the groans can be hear almost at the city. While during the three hours' ceremony on Good Friday from midday onwards we are told: "At the several lections and prayers there is such emotion displayed and lamentation of all the people as is wonderful to hear. For there is no one, great or small, who does not weep on that day during those three hours, in a way that cannot be imagined, that the Lord should have suffered such things for us" (Peregrinatio Sylviæ in "Itinera Hierosolymitana", ed. Geyer, 87, 89). It is difficult not to suppose that this example of the manner of honouring Our Saviour's Passion, which was traditional in the very scenes of those sufferings, did not produce a notable impression upon Western Europe. The lady from Galicia, whether we call her Sylvia, Ætheria, or Egeria, was but one of the vast crowd of pilgrims who streamed to Jerusalem from all parts of the world. The tone of St. Jerome (see for instance the letters of Paula and Eustochium to Marcella in A.D. 386; P.L., XXII, 491) is similar, and St. Jerome's words penetrated wherever the Latin language was spoken. An early Christian prayer, reproduced by Wessely (Les plus anciens mon. de Chris., 206), shows the same spirit.

We can hardly doubt that soon after the relics of the True Cross had been carried by devout worshippers into all Christian lands (we know the fact not only from the statement of St. Cyril of Jerusalem himself but also from inscriptions found in North Africa only a little later in date) that some ceremonial analogous to our modern "adoration" of the Cross upon Good Friday was introduced, in imitation of the similar veneration paid to the relic of the True Cross at Jerusalem. It was at this time too that the figure of the Crucified began to be depicted in Christian art, though for many centuries any attempt at a realistic presentment of the sufferings of Christ was almost unknown. Even in Gregory of Tours (De Gloria Mart.) a picture of Christ upon the cross seems to be treated as something of a novelty. Still such hymns as the "Pange lingua gloriosi prœlium certaminis", and the "Vexilla regis", both by Venantius Fortunatus (c. 570), clearly mark a growing tendency to dwell upon the Passion as a separate object of contemplation. The more or less dramatic recital of the Passion by three deacons representing the "Chronista", "Christus", and "Synagoga", in the Office of Holy Week probably originated at the same period, and not many centuries later we begin to find the narratives of the Passion in the Four Evangelists copied separately into books of devotion. This, for example, is the case in the ninth-century English collection known as "the Book of Cerne". An eighth century collection of devotions (manuscript Harley 2965) contains pages connected with the incidents of the Passion. In the tenth century the Cursus of the Holy Cross was added to the monastic Office (see Bishop, "Origin of the Prymer", p. xxvii, n.).

Still more striking in its revelation of the developments of devotional imagination is the existence of such a vernacular poem as Cynewulf's "Dream of the Rood", in which the tree of the cross is conceived of as telling its own story. A portion of this Anglo-Saxon poem still stands engraved in runic letters upon the celebrated Ruthwell Cross in Dumfriesshire, Scotland. The italicized lines in the following represent portions of the poem which can still be read upon the stone:

I had power all
his foes to fell,
but yet I stood fast.
Then the young hero prepared himself,
That was Almighty God,
Strong and firm of mood,
he mounted the lofty cross
courageously in the sight of many,

when he willed to redeem mankind.
I trembled when the hero embraced me,
yet dared I not bow down to earth,
fall to the bosom of the ground,
but I was compelled to stand fast,
a cross was I reared,
I raised the powerful King
The lord of the heavens,
I dared not fall down.

They pierced me with dark nails,
on me are the wounds visible.

Still it was not until the time of St. Bernard and St. Francis of Assisi that the full developments of Christian devotion to the Passion were reached. It seems highly probable that this was an indirect result of the preaching of the Crusades, and the consequent awakening of the minds of the faithful to a deeper realization of all the sacred memories represented by Calvary and the Holy Sepulchre. When Jerusalem was recaptured by the Saracens in 1187, worthy Abbot Samson of Bury St. Edmunds was so deeply moved that he put on haircloth and renounced flesh meat from that day forth — and this was not a solitary case, as the enthusiasm evoked by the Crusades conclusively shows.

Under any circumstances it is noteworthy that the first recorded instance of stigmata (if we leave out of account the doubtful case of St. Paul) was that of St. Francis of Assisi. Since his time there have been over 320 similar manifestations which have reasonable claims to be considered genuine (Poulain, "Graces of Interior Prayer", tr., 175). Whether we regard these as being wholly supernatural or partly natural in their origin, the comparative frequency of the phenomenon seems to point to a new attitude of Catholic mysticism in regard to the Passion of Christ, which has only established itself since the beginning of the thirteenth century. The testimony of art points to a similar conclusion. It was only at about this same period that realistic and sometimes extravagantly contorted crucifixes met with any general favour. The people, of course, lagged far behind the mystics and the religious orders, but they followed in their wake; and in the fourteenth and fifteenth centuries we have innumerable illustrations of the adoption by the laity of new practices of piety to honour Our Lord's Passion. One of the most fruitful and practical was that type of spiritual pilgrimage to the Holy Places of Jerusalem, which eventually crystalized into what is now known to us as the "Way of the Cross". The "Seven Falls" and the "Seven Bloodsheddings" of Christ may be regarded as variants of this form of devotion. How truly genuine was the piety evoked in an actual pilgrimage to the Holy Land is made very clear, among other documents, by the narrative of the journeys of the Dominican Felix Fabri at the close of the fifteenth century, and the immense labour taken to obtain exact measurements shows how deeply men's hearts were stirred by even a counterfeit pilgrimage. Equally to this period belong both the popularity of the Little Offices of the Cross and "De Passione", which are found in so many of the Horæ, manuscript and printed, and also the introduction of new Masses in honour of the Passion, such for example as those which are now almost universally celebrated upon the Fridays of Lent. Lastly, an inspection of the prayer-books compiled towards the close of the Middle Ages for the use of the laity, such as the "Horæ Beatæ Mariæ Virginis", the "Hortulus Animæ", the "Paradisus Animæ" etc., shows the existence of an immense number of prayers either connected with incidents in the Passion or addressed to Jesus Christ upon the Cross. The best known of these perhaps were the fifteen prayers attributed to St. Bridget, and described most commonly in English as "the Fifteen O's", from the exclamation with which each began.

In modern times a vast literature, and also a hymnology, has grown up relating directly to the Passion of Christ. Many of the innumerable works produced in the sixteenth, seventeenth, and eighteenth centuries have now been completely forgotten, though some books like the medieval "Life of Christ" by the Carthusian Ludolphus of Saxony, the "Sufferings of Christ" by Father Thomas of Jesus, the Carmelite Guevara's "Mount of Calvary", or "The Passion of Our Lord" by Father de La Palma, S.J., are still read. Though such writers as Justus Lipsius and Father Gretser, S.J., at the end of the sixteenth century, and Dom Calmet, O.S.B., in the eighteenth, did much to illustrate the history of the Passion from historical sources, the general tendency of all devotional literature was to ignore such means of information as were provided by archæology and science, and to turn rather to the revelations of the mystics to supplement the Gospel records.

Amongst these, the Revelations of St. Bridget of Sweden, of Maria Agreda, of Marina de Escobar and, in comparatively recent times, of Anne Catherine Emmerich are the most famous. Within the last fifty years, however, there has been a reaction against this procedure, a reaction due probably to the fact that so many of these revelations plainly contradict each other, for example on the question whether the right or left shoulder of Our Lord was wounded by the weight of the cross, or whether Our Saviour was nailed to the cross standing or lying. In the best modern lives of Our Saviour, such as those of Didon, Fouard, and Le Camus, every use is made of subsidiary sources of information, not neglecting even the Talmud. The work of Père Ollivier, "The Passion" (tr., 1905), follows the same course, but in many widely-read devotional works upon this subject, for example: Faber, "The Foot of the Cross"; Gallwey, "The Watches of the Passion"; Coleridge, "Passiontide" etc.; Groenings, "Hist. of the Passion" (Eng. tr); Belser, D'Gesch. d. Leidens d. Hernn; Grimm, "Leidengeschichte Christi", the writers seem to have judged that historical or critical research was inconsistent with the ascetical purpose of their works.