The Prodigal Son
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The “prodigal son” does not mean the repentant son. “Prodigal” is a medieval word for someone who spends recklessly, without necessity, or is lavish in all purchases. Thus, the prodigal son has gone through his entire inheritance, has no money left, and has ended up caring for pigs which are impure to all Jews. In his decision to return home, he will lose “face” among everyone for having wasted the money, and putting himself as the least servant would be the most appropriate position for him. The least servant was responsible for garbage and for cleaning the feet of visitors after they walked through filthy streets. It is the amazing decision of the father which reverses all of his plans. First, the father has been watching for him, a sign of his feeling of loss. Second, the father runs to him, in an extravagant gesture of love, and embarrassing himself among the people for doing so, especially to a sinful son! Finally, the father redeems this wastrel son with three gestures: - First, the fine robe - the son is restored to the family.
- Second, the ring – the son is restored to his role as son and heir even though he has squandered his share.
- Third, the sandals – the son had resigned himself to cleaning filthy feet, but now he is given footgear which only the rich could afford to wear daily.
In the father’s compassion, the son is not only redeemed, he is embraced with extravagant love, as the killing of the fatted calf and banquet show. He is welcomed back far beyond his expectations as a sinner – and the same extravagant love awaits us from God the Father when we repent and turn back to Him.
Description of the Icon
The first hidden message lies in the staging of the two protagonists: the repentant son, and the all-loving father. The second message is that of what the son is wearing: he is shown in plain brown clothing, colors of emptiness, of the desert wastes. Next, notice that he inclines his head forward, as is proper for the lesser to greet the greater.
The father’s image is especially fascinating. First, he is shown in action: his robes are literally flying behind him because he has rushed to greet this son who wasted everything but has returned. Second, the father is shown as a venerable man, white-haired and bearded. This emphasises the pain he suffered in waiting, and in having been rejected by the young man: how could a young man have so insulted an elderly father like that? See how the two faces blend together, in absolute tenderness. The full positioning of the faces tells us that the sinful son has been redeemed.
But the real message is this: iconographers usually depict the father wearing the divine colors of red and blue. He stands for God the Father, the Source of all life, the One Who Is for all time, with the white hair and beard of the Ancient of Days seen by St Daniel the Prophet in his vision. The iconographer does not want us to have any misconceptions at all – the sinner who can bring nothing to this scene except his besmirched soul and his sorrow, is being acknowledged, embraced, and forgiven, by a God Who rushes to love us. A God Who rushes to us when we make that first repentant step toward Him again.