Throughout the confession, we are shown flashbacks of the confessor's killings, and times when he has been compassionate, letting his target live, or take their own life rather than being executed. In between the flashbacks, the confessor and the priest argue over whether people deserve to die, the existence of God, and whether the priest has ever sinned as badly as the confessor. The priest continually tries to get the confessor to admit that what he does is wrong, but the confessor is not looking for forgiveness.
The confessor reveals that he intends to kill the priest (his father) tonight. He explains that he saw him just a few days prior but couldn't be sure it was indeed his father, as he did not know he had become a priest. Once he looked into his eyes for a brief moment, he was sure of the priest's identity. The priest begs the confessor for forgiveness, and later his own life. The confessor takes aim and fires a single gunshot at the priest, but misses intentionally. He holds to his original agreement: that if the priest agreed to hear his confession, he would not kill tonight. The confessor tells the priest that he will not kill him, nor forgive him for what he did to him and his mother. He tells the priest that he will continue to kill, and will send him newspaper clippings of each killing, so the priest knows that his actions made the confessor the way he is, and he is responsible for their deaths.
"Here's an elegant excursion into unknown territory. ... Ferenc's dogged independence and often morose refusal to mind his Ps and Qs is redolent of Martin Cruz Smith's hero in Gorky Park, but this is a different time, with entirely different priorities. ... This skilful confession often makes the hair on the back of your neck stand up." --Matthew Lewin, The Guardian
"This is a gripping and fully realized portrayal of a man whose strengths, flaws, struggle, and ultimate fall are emblematic of the fate of Eastern Europe itself. While skillfully developed, the intricacies of plot, particularly the story behind the diverse crimes, fade to relative insignificance in light of Ferenc's heartrending 'confession'. Densely atmospheric and strongly recommended..." --Ronnie H. Terpening, Library Journal (starred review)
27. As cause for proceeding against me they found—after thirty years!—a confession I had made before I was a deacon. In the anxiety of my troubled mind I confided to my dearest friend what I had done in my boyhood one day, nay, in one hour, because I was not yet strong. I know not, God knoweth—whether I was then fifteen years old: and I did not believe in the living God, nor did I so from my childhood, but lived in death and unbelief until I was severely chastised and really humiliated, by hunger and nakedness, and that daily.
61. Behold, again and again would I set forth the words of my confession. I testify in truth and in joy of heart before God and His holy angels that I never had any reason except the Gospel and its promises why I should ever return to the people from whom once before I barely escaped.
62. I pray those who believe and fear God, whosoever deigns to look at or receive this writing which Patrick, a sinner, unlearned, has composed in Ireland, that no one should ever say that it was my ignorance if I did or showed forth anything however small according to God's good pleasure; but let this be your conclusion and let it so be thought, that—as is the perfect truth—it was the gift of God. This is my confession before I die.
This is a translation of the original Afrikaans text of the confession as it was adopted by the synod of the Dutch Reformed Mission Church in South Africa in 1986. In 1994 the Dutch Reformed Mission Church and the Dutch Reformed Church in Africa united to form the Uniting Reformed Church in Southern Africa (URCSA). This inclusive language text was prepared by the Office of Theology and Worship, Presbyterian Church (U.S.A.).
The title of this work alludes to the flirting between the two characters, playing with the similarity between the basket chair and a confessional. The scene deals with one of the most frequent subjects in genre paintings from the second half of the nineteenth century: flirting and other games among the bourgeoisie. In opting for a vertical formant, the painter concentrates our attention on what is taking place, the gallant conversation between the two youths, avoiding the distraction of a broader landscape. The light color scheme, precise drawing and virtuoso finish are worthy of Palmarolis finest works. After passing through several private collections, this work was purchased by the artists son, who bequeathed it to the Museum of Modern Art in 1931.
The Synod of Jerusalem of 1672 soundly rejected any further attempts at reformulation of Orthodox teachings and strengthened Orthodox beliefs against both the Protestant Reformation and Catholicism. The Synod produced its own confession, the Confession of Dositheus (Patriarch of Jerusalem), in which point by point it refuted Cyril's' eighteen points. In addition it added four catechetical style questions that defended the restriction of reading and study of Scripture to the priests, defended the role of tradition, as well as a lengthy defense of the veneration of icons and prayers to the saints.
Further, that this Mystery of the Sacred Eucharist can be performed by none other, except only by an Orthodox Priest, who has received his priesthood from an Orthodox and Canonical Bishop, in accordance with the teaching of the Eastern Church. This is compendiously the doctrine, and true confession, and most ancient tradition of the Catholic Church concerning this Mystery; which must not be departed from in any way by such as would be Orthodox and who reject the novelties and profane vanities of heretics. But necessarily the tradition of the institution must be kept whole and unimpaired. For those that transgress, the Catholic Church of Christ rejects and anathematises.
Once they had the boys' confessions, detectives believed they had made their case. But shortly after the boys had given those detailed statements, they recanted their story and said they made it all up -- under intense pressure from the police.
Attridge planned to dispute the boys' so-called confessions, revisit the questions about Tuite, and paint him as the likely killer. She wondered about the clothing that was taken from Tuite on the morning Stephanie's body was discovered. It was clothing police said contained no incriminating evidence, but she wanted to have a closer look.
The defense then presented its strongest argument to exonerate Tuite: the boys' confession tapes. Michael then took the stand to defend himself. It was the first time that Michael, 20, has seen what he told police on the tapes when he was 14. 041b061a72