In the previous study, I examined the Anointing of Jesus in Mark and Matthew, in which it is set as the first episode in the (Synoptic) Passion Narrative. We also looked at the parallel account in John, where the episode, though placed at an earlier location in the narrative, still is closely tied to Jesus’ Passion. Luke likewise includes an Anointing scene, but one with a very different setting—earlier in the Galilean ministry period (7:36-50)—and with considerable differences in detail as well. These points of difference would normally be sufficient to mark the episode as deriving from an entirely separate (historical) tradition. However, at least two facts would argue against this:
- This is the only such Anointing scene in Luke; he does not include anything similar at a point corresponding to Mk 14:3-9 par. This might suggest that Luke felt that the episode properly belonged at a different point in the narrative. John’s version provides confirmation for an earlier setting of the episode, prior to Jesus’ entry into Jerusalem.
- Luke’s account includes specific details common to the Synoptic (Markan) version:
(a) The name of the host (Simon)—Mk 14:3 par; Lk 7:40.
(b) The unnamed woman with an alabaster jar of perfume—Mk 14:3 par; Lk 7:37
(c) As we shall see, the description of the woman’s action (v. 38) is nearly identical with that in John’s version (12:3), which otherwise is quite close overall to the Markan episode.
How are we to explain the relationship between the Lukan and Synoptic (Mark/Matthew) version? This is a significant critical question, which cannot be ignored; there are several possibilities:
- They simply record entirely separate (historical) events, and the similarities between them are coincidental. This would probably be the normal traditional-conservative view, yet the points noted above seem to speak against it.
- Luke has combined two distinct historical traditions:
(1) that involving a “sinful” woman who wets Jesus’ feet with her tears and dries them with her hair; the episode is set earlier in Jesus’ ministry, at the house of a Pharisee.
(2) that of the woman who anoints Jesus at Bethany; i.e. the Synoptic tradition, set close to the time of Jesus’ Passion in Jerusalem.
This would tend to be the more common critical view—that Luke has added details from the Synoptic version (which he has otherwise omitted) to the other scene.
- They record the same underlying historical tradition (and event), but that Luke has brought out very different details and points of emphasis, through the specific tradition he has inherited.
Unfortunately, each of these three views has its own problems, and none is entirely satisfactory as an explanation of both the differences and similarities between the versions. The situation is complicated still further when one compares these two (Synoptic) versions of the Anointing scene with the third (in John). Insofar as Luke has developed the core Synoptic tradition, we must consider this from several different perspectives.
1. If Luke has otherwise made use of Mark (or a similar Synoptic narrative), why did he omit the Bethany Anointing scene of Mk 14:3-9? Different possibilities have been suggested, but, in my view, the most convincing is that his purpose was to emphasize more clearly two primary thematic elements of the narrative—(1) the Passover setting, and (2) the Betrayal by Judas. Eliminating the Anointing episode at this point serves to join immediately the narrative introduction (22:1-6) with the Last Supper scene (vv. 7ff), in which both of these elements are prominent. Luke has further enhanced the narrative introduction by weaving into it the tradition of Judas’ betrayal (compare vv. 3-6 with Mk 14:1b-2).
2. The author (trad. Luke) may also have wished to give greater prominence to the earlier Anointing scene, set in Galilee. Whether or not he has included details, otherwise found in the Bethany scene, within this episode (see above), there is tremendous power and beauty to the narrative in 7:36-50. The Anointing episode outline (on this, see last week’s study) is essentially represented by vv. 36-40, the first part of the narrative. The second part (vv. 41-50) involves a parable (vv. 41-47) similar to others found in Luke’s Gospel (see especially 10:25-37, of the “Good Samaritan”). The three-fold emphasis on repentance, forgiveness, and love, reflects important Lukan themes, such as we see, for example, in the parable of the Prodigal (15:11-24ff). All of these elements, of course, are unique to Luke’s tradition, and are not found in the Synoptic Anointing episode. Yet, as noted above, there is some indication that the author may have seen the two traditions as reflecting the same episode. In particular, the reference to the host Pharisee as “Simon” (v. 40) could suggest a conscious harmonization with Mk 14:3ff.
3. The similarity between Lk 7:38 and Jn 12:3 raises the possibility that Luke inherited a form of the (Bethany) Anointing tradition closer to Jn 12:1-8 than Mk 14:3-9. This should be seriously considered, especially since there is some evidence that, in the Passion and Resurrection narratives, Luke and John are drawing from a common tradition separate from the Synoptic (i.e. not found in Mark/Matthew).
Next Saturday is Palm Sunday, and it is natural that we should turn our attention to the Triumphal Entry scene in the Gospels, as preliminary to the Passion narrative that follows. There are a number of key critical questions related to the famous Entry scene, and we will consider these in turn: (a) Textual, (b) Source, (c) Historical, and (d) Literary. I have touched on some of these areas in earlier notes and articles, but in our study they will be surveyed in a more comprehensive way. I hope you will join me for this exciting study, in preparation for Holy Week.