The Role of Jesus' Opponents in the Markan Drama
Bibliographic Data
| ID | 19294232 |
|---|---|
| Authors | Stephen Smith (0000-0002-7591-243X, corresponding author), Stephen H Smith (0000-0002-3813-6056, corresponding author) |
| Year | 1989 |
| Volume | 35 |
| Issue | 2 |
| Pages | 161-182 |
| Publication date | 1989-04-01 |
| Peer Reviewed | Yes |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | New Testament Studies (JOURNAL) |
| Journal identifiers | ISSN: 0028-6885 • E-ISSN: 1469-8145 |
| Publisher | Cambridge University Press (CUP) (PUBLISHER) |
| DOI | 10.1017/s0028688500024590 |
| OpenAlex | W2020235466 |
| Language | EN |
| References cited | 15 |
Discussions on the possibility that Mark's Gospel may have been modelled, either consciously or subconsciously, on Greek tragic drama have gathered momentum in recent years. It has also been shown that a most important feature of Greek tragedy is the repetitive device of ‘foreshadowing’, a technique which has rightly been seen as essential to the development of mnemonic structures in oral epic. The use of this device in the Bible, it may be argued, is no less pronounced than in Greek drama. C. H. Lohr, in particular, has argued strongly for the presence of foreshadowing in Matthew's Gospel, and it is our purpose here to enquire whether the writer of the Second Gospel, too, was aware of this dramatic device. Matthew achieved the desired effect by means of dream episodes (Matt 1. 20; 2. 12, 13, 19, 22; 27. 19) and the repetition of divine names, especially ‘Son of David’, at strategic points (Matt 9. 27; 12. 23; 15. 22; 20. 30, 31; 22. 43). There are certainly no dream narratives in Mark's Gospel, and even the references to divine titles may seem to have been arranged in a somewhat arbitrary fashion at first glance. On the other hand, it can hardly be denied that we find in Mark's vivid account an inexorable drift towards death: the inevitable shadow of the cross falls across the text even as early as Mark 2. 20 – the disciples may not fast until ‘that day’ when the bridegroom is taken from them. And there is the hint of opposition to Jesus even prior to that! There is little doubt in my mind that Mark was keenly aware of the effective use to which the device of foreshadowing could be put, but his technique differs from that which Lohr has ascribed to Matthew. In true tragic style he wants to emphasise the inevitability of the cross as the omega point of Jesus' destiny, and to do that he uses not dreams or prophecies, but actors who engage Jesus in controversy or conflict at strategic points within the gospel story. It matters to Mark who these actors are, what role they play, and precisely when and where they make their entrances on stage. We shall thus be concerned to show, in the remainder of this paper, how the Evangelist treats the various groups of Jewish opponents as a literary device for foreshadowing Jesus' crucifixion
Art · Drama · Dream · Gospel · Linguistics · Literature · Mnemonic · Narrative · Psychoanalysis · Repetition (rhetorical device) · Shadow (psychology) · Theology · Tragedy (event) · Archaeology and Historical Studies · Biblical Studies and Interpretation · Historical and Linguistic Studies · History · Philosophy · Psychology
The Gospel According to St. Mark
Mark's Treatment of the Jewish Leaders
Responsibilities of Master and Disciples in the Gospels
The Formulation of the Revenge Motif in the Odyssey
Repetition in the Homeric Hymn to Aphrodite
Foreshadowing and Suspense in the Epics of Homer, Apollonius, and Vergil
Tragic Action in the Second Gospel
| Citation velocity | historical |
|---|---|
| Highly cited | No |