St. Dionysius the Areopagite

This year we Orthodox celebrate the Ascension of Christ on May 21st, which is, as always, 40 days after the feast of the Resurrection of Christ. It’s been a while since I published this article about the feast and about the significance of the mandorla, so I’m offering it again:

Until a recent vocabulary expansion, I knew little Italian beyond pizza and zucchini. Now I know mandorla, which means almond. In the language of iconography, it means a background shape, often an almond shape but not always, which conveys meaning having nothing to do with the nut.

In this article “Within a Mandorla” Fr. Stephen Freeman explains:

“Revealed in the context of a mandorla is that which we know by the revelation of Scripture but which might not have been witnessed by the human eye – or – if witnessed – somehow transcended the normal bounds of vision.

“Mark says that [Christ] was “carried up into heaven and seated at the right hand of God.” This last formula is a creedal confession – but not an eyewitness description. That Christ was taken up and that He is seated at the right hand of the Father is the faith and dogma of the Church. But the Church knows this in a mystical manner and not in the manner of a newspaper reporter.”

And from Icon Reader:

“Sometimes a star – but the usual elliptical shape gives it the name mandorla, which is Italian for the nut. The almond tree is the first plant to flower in Greece, sometimes as early as mid-January, and as such is a symbol of new life and fertility. Ancient Greek myths also link almonds, and the almond-shape, with new life; yet preceding all these in time, and succeeding them in importance, is the story of Aaron’s rod, which blossomed forth not only flowers, but almonds (Numbers 17:8)”

The mandorla can represent light that was actually seen by those present at an event, but it often also symbolizes the majesty and glory that is beyond our earthly vision or ability to put into words.

From Wikipedia: “These mandorla will often be painted in several concentric patterns of color which grow darker as they come close to the center. This is in keeping with the church’s use of apophatic theology, as described by Dionysius the Areopagite and others. As holiness increases, there is no way to depict its brightness except by darkness.”

The story of what the disciples of Jesus saw with their own eyes is told in the first chapter of the Book of Acts:

“So when they had come together, they asked him, ‘Lord, is this the time when you will restore the kingdom to Israel?’ He replied, ‘It is not for you to know the times or periods that the Father has set by his own authority. But you will receive power when the Holy Spirit has come upon you; and you will be my witnesses in Jerusalem, in all Judea and Samaria, and to the ends of the earth.’ When he had said this, as they were watching, he was lifted up, and a cloud took him out of their sight. While he was going and they were gazing up toward heaven, suddenly two men in white robes stood by them. They said, ‘Men of Galilee, why do you stand looking up toward heaven? This Jesus, who has been taken up from you into heaven, will come in the same way as you saw him go into heaven.’”

The Lord has ascended into heaven
that He might send the Comforter to the world.
The heavens prepared His throne, and the clouds His mount.
Angels marvel to see a Man high above them.
The Father receives Him Whom He holds, co-eternal, in His bosom.
The Holy Spirit commands all His Angels:
“Lift up your gates, ye princes!
All ye nations, clap your hands:
for Christ has gone up to where He was before!”

-Hymn for the feast

Some years ago Donald Sheehan’s widow Xenia shared on social media an excerpt from his book The Grace of Incorruption, a passage in which he links Robert Frost with St. Dionysius. She published it on the saint’s feast day in October, along with his icon below, but for re-posting Sheehan’s thoughts I have chosen today’s date, on which Robert Frost breathed his last, an appropriately wintry day in 1963. Xenia Sheehan:

This day the Orthodox Church celebrates St. Dionysius the Areopagite, 1st (or possibly 5th)-century poet of “Mystical Theology,” whom Donald Sheehan uniquely compares to American poet Robert Frost in his “deliberate turning out of all the lights of false knowing . . . in order to behold — in Dionysius’ astonishing words — ‘that darkness concealed from all the light among beings.'”

Don writes in The Grace of Incorruption that,

“…in order to know the personhood of another, we must unknow both the persona and the personality: we must let these lights go out. Again and again, in his finest poems, Robert Frost accomplishes precisely this unknowing, the deliberate extinguishing of all the false light, and a welcoming-in of the darkness in which true personhood can shine forth. And true personhood is, always, genuinely beautiful.

“I think what moves us so deeply about the poem ‘An Old Man’s Winter Night’ is Frost’s evocation of genuine personhood in the old man. The old man in Frost’s poem is not a persona nor a personality; he is, genuinely, a person. And as the lights go out in the poem, the more beautifully and movingly his personhood emerges. One vivid detail: when the log in the stove shifts with a jolt, we, too, are jolted into a deeper intimacy with the old man, an intimacy that gains in power because of the darkness.”

-Donald Sheehan

Text and icon from Donald’s widow Xenia Sheehan in 2018

AN OLD MAN’S WINTER NIGHT

All out-of-doors looked darkly in at him
Through the thin frost, almost in separate stars,
That gathers on the pane in empty rooms.
What kept his eyes from giving back the gaze
Was the lamp tilted near them in his hand.
What kept him from remembering what it was
That brought him to that creaking room was age.
He stood with barrels round him—at a loss.
And having scared the cellar under him
In clomping there, he scared it once again
In clomping off;—and scared the outer night,
Which has its sounds, familiar, like the roar
Of trees and crack of branches, common things,
But nothing so like beating on a box.
A light he was to no one but himself
Where now he sat, concerned with he knew what,
A quiet light, and then not even that.
He consigned to the moon,—such as she was,
So late-arising,—to the broken moon
As better than the sun in any case
For such a charge, his snow upon the roof,
His icicles along the wall to keep;
And slept. The log that shifted with a jolt
Once in the stove, disturbed him and he shifted,
And eased his heavy breathing, but still slept.
One aged man—one man—can’t fill a house,
A farm, a countryside, or if he can,
It’s thus he does it of a winter night.