Road to Emmaus appearance

'"[7] Alfred McBride says that the Emmaus narrative concerns "the evolution of the awareness of the two disciples, from despair over Christ's death to faith in his resurrection".

These returned and reported it to the rest; but they did not believe them either.It has also been suggested that the Ethiopian eunuch story (Acts 8:26–40)[11] is a "much discussed parallel" to the Emmaus narrative, since there are some recognizable similarities between the two.

Among those who have been suggested: Simon/Symeon, according to several documents and manuscripts; Ammaon/Amaon, which may be a spelling error for "Symeon", according to Saint Ambrose; Nathanael, according to Saint Epiphanius's Panarion; Nicodemus, according to the Arabic Apocryphal Gospel of John; Luke the Evangelist, according to the Book of the Bee; Philip the Deacon; James, brother of Jesus; and Mary, the wife (or possibly daughter) of Clopas, who is considered the same person as Cleopas.

During such course of action, according to Mossi, one should realize that Jesus compassionately walks as a friend on one's own journey, empathetically listens one's sorrows and hesitations, and spends quality time accompanying one goes through the process of inner healing.

Lambrecht argues that such attitudes made Jesus able to change them deeply: "By the offer of hospitality the Emmaus companions were able to transcend their self-concern, sadness, foolishness and slowness of heart, thus preparing them for the revelatory experience around the table where they were nourished.

[24] B. P. Robinson argues that this means that the recognition occurred in the course of the meal,[25] while Raymond Blacketer notes that "many, perhaps even most, commentators, ancient and modern and in-between, have seen the revelation of Jesus' identity in the breaking of bread as having some kind of eucharistic referent or implication.

[32] John Paul II argues that the two disciples realized "the duty to be a missionary" after "entering into communion with Christ" at the meal event, relates it with the dismissal at the end of the Eucharistic Celebration.

Medieval art tends to show a moment before Jesus is recognized; Christ wears a large floppy hat to help explain the initial lack of recognition by the disciples.

Rembrandt's 1648 depiction of the supper builds on the etching that he did six years earlier, in which the disciple on the left had risen, hands clasped in prayer.

[34] Some other artists who have portrayed the supper are Jacopo Bassano, Pontormo, Vittore Carpaccio, Philippe de Champaigne, Albrecht Dürer, Benedetto Gennari, Jacob Jordaens, Marco Marziale, Pedro Orrente, Tintoretto, Titian, Velázquez, and Paolo Veronese.

In literary art, the Emmaus theme is treated as early as the 12th century by Durham poet Laurentius in a semidramatic Latin poem.

The American southern gospel music group The Emmaus Road Quartet takes their name from the Biblical account.

They also recorded a song entitled "On The Road to Emmaus" in 2019, in which the lyrics espouse a desire to walk with a risen Jesus Christ and be taught the scriptures by him.

Carl Jung regarded the road to Emmaus appearance as a mythological example of the common dream theme of the magical traveling companion.