In 1986 Henri Nouwen, a Dutch theologian and writer, toured St. Petersburg, Russia, the former Leningrad. While there he visited the famous Hermitage where he saw, among other things, Rembrandt's painting of the Prodigal Son. The painting was in a hallway and received the natural light of a nearby window. Newman stood for two hours, mesmerized by this remarkable painting. As he stood there the sun changed, and at every change of the light's angle he saw a different aspect of the painting revealed. He would later write: "There were as many paintings in the Prodigal Son as there were changes in the day."

It is difficult for us to see something new in the parable of the Prodigal son. We have heard the story so many times we believe that we have squeezed it dry of meaning. Not only that, but, as the saying goes, familiarity breeds contempt. When we hear the opening words of the parable once again, "And there was a Father who had two sons," we greet the words with ho-hum. Heard it. Heard it. Heard it.

Yet, I would suggest that just as Henri Nouwen saw a half dozen different facets to Rembrandt's painting of the Prodigal Son, so too are there many different angles to the story itself.