Re message of 3/23/00 6:19 PM from Ted Weeden:
I've been reading your post about Salome/GMark/GThom
with great interest. I just now picked up on a
couple of points from a previous post...
>Furthermore with respect to 13:21-23, particularly 21-22, I think Mark has
>once again drawn upon Q in the composition of these verses, as well as
>drawing upon Q for his transitional movement to the future eschatological
>scene of Mk. 13:24-27. The Q passage which I believed drew upon for these
>compositional purposes is Q 17:23-24. Notice the similarity in syntax and
>motifs between Q 17:23 and Mk. 13:21 when the verses are paralleled thus:
> Q 17:23- They will say to you, 'Look there!' or 'Look here!' Do not go, do
>not set off in pursuit.
> Mk. 13:21- if anyone says to you at that time, 'Look! Here is the Christ!'
>or 'Look! There he is!'-- do not believe it.
But "here, there" is the order of this saying in the Gospel of Thomas.
Only Q has "there, here." Interesting, no?
>Then when Mark turns to composing his future eschatological scene of
>13:24-27, I submit that Q17:24 is again in his thinking as he creates his
>introductory verse (13:24) leading into the eschatological drama about the
>future appearance of the Son of Man (13:26). This Markan compositional
>indebtedness to Q 17:24 can be seen in the following parallel comparison of
>Q 17:24 and Mark 13:24.
> Q 17:24- For as the lightning flashes and lights (or "shines,"i. e.,
>LAMPEI) up the sky from one side to the other, so will the Son of Man be in
> Mk.13:24- "But in those days, after that tribulation, the sun will be
>darkened, and the moon will not give its light (FEGGOS), the stars will be
>falling from heaven and the powers in the heavens will be shaken and then
>they will see the Son of man..
>Notice, if you will, the common use of the "shine/light" motif in both
>passages as a motif in the service of introducing the main theme in both
>passages, namely, the future eschatological appearance of the Son of man.
>Of course Mark uses the motif of light in a diametrically opposite way to Q'
>s usage. In Q the "shine" motif serves to dramatize what the appearance of
>the Son of man will be like, whereas in Mark the motif of light, in Mark's
>case the absence of light, serves to describe the diminished state of the
>heavenly bodies in contrast to the brilliant "glory" of the Son of man in
>his end-time re-appearance (13:26).
In this instance, Mark might be seen to be under the influence
of GThomas (non-apocalypticism of GThom notwithstanding) as, of
course, for GThom the light *is* Jesus and within Jesus.
This is an interesting connection; I can't remember whether
Steve Davies has made this specific point.
James R. Covey
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Cochran Interactive Inc.
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