Category: The Passion Narrative

A critical (and exegetical) study of the Passion narrative in the Gospels. All of the key critical issues and questions are addressed, with particular attention to how the narratives reflect the development of the Gospel tradition.

The Passion Narrative: Episode 6 (Jn 19:16b-37)

Episode 6: The Death of Jesus

John 19:16b-37

With John’s version of the Crucifixion scene, we come to the conclusion of this study on the Passion Narrative. Throughout we have seen that the Gospel of John draws upon a separate line of tradition from the Synoptic, often developing it considerably, in creative ways, and in light of its distinctive theology. At the same time, both John and the Synoptics share core historical traditions which stem from the earliest period of Gospel formation. Nowhere is this more clear than in the Passion Narrative. Consider the final episode—the Crucifixion/Death of Jesus—as it is presented in the Fourth Gospel; I give an outline below:

    • The Crucifixion Scene—Vv. 16b-25a
      —Introduction, vv. 16b-18
      —The Inscription, vv. 19-22
      —The Garment of Jesus, vv. 23-25a
    • Jesus on the Cross—Vv. 25b-30
      —Jesus and his Mother, vv. 25b-27
      —The Death of Jesus, vv. 28-30
    • The Body of Jesus—Vv. 31-37
      —Removal from the Cross, v. 31
      —The Bones unbroken, vv. 32-33
      —The Blood and water, vv. 34-35
      —Fulfillment of Scripture, vv. 36-37

The first two scenes are relatively close in outline to the Synoptic version, with two main differences: (a) the dialogue between Pilate and the Jewish leaders regarding the inscription on the cross (vv. 19-22), and (b) the exchange involving Jesus’ Mother (Mary) and the Beloved Disciple (vv. 25b-27). Other significant differences are worth noting. For example, in John’s account, Jesus carries his own cross to the place of execution (v. 17), whereas in the Synoptics this done by the passerby Simon the Cyrenian (Mk 15:21 par). If the Gospel writer was aware of the Simon tradition, he has omitted it, perhaps to convey the sense that Jesus is fulfilling his destiny, the work given him by the Father to accomplish, from beginning to end (see the introduction to the Passion narrative in 13:1). It may also be meant to illustrate the words of Jesus, for example in 10:15, 18—that he lays down his life willingly, by himself.

Below I examine briefly the most distinctive features and elements in John’s version.

1. Pilate and the Inscription (vv. 19-22)

The dialogue exchange between Pilate and the Jewish leaders over the inscription is unique to John’s account, and is certainly meant to echo the earlier trial/interrogation scene in 18:28-19:16a, introducing the theme of kingship and Jesus’ identity (see the earlier study [Episode 5] on this passage). Jesus effectively denied being “King of the Jews” in the ordinary ethnic/political sense; now, the Jewish leaders are saying the same thing, but from a very different point of view. For the last time in the Gospel, we see the motif of misunderstanding and double-meaning which characterizes the great Discourses.

2. The Garment of Jesus (vv. 23-25a)

Apart from making the association with Psalm 22:18 explicit, John’s version of the soldiers dividing Jesus’ garments differs from the Synoptic account in one significant detail: the reference to Jesus’ tunic (shirt/undergarment). It is described as made of a single piece (“without seam”), woven throughout from the top (to the bottom). This may seem like a small, incidental detail, but here in the Gospel it has special symbolic and theological meaning. It is hard to avoid a comparison with the Synoptic tradition of the Temple curtain, which was split from top to bottom at the death of Jesus (Mk 15:38 par). By contrast, Jesus’ tunic—the garment closest to his body—is not split this way, as the soldiers declare: “let us not split it…” (v. 24). The parallel would seem to be appropriate, for two reasons. First, both traditions involve the specific words ánœthen (“from above”, i.e. from the top) and the verb schízœ (“split, divide”). Second, in Jn 2:19ff, Jesus’ own body is identified, in a symbolic/spiritual sense, with the Temple, specifically in the context of his death (and resurrection).

3. The scene with Mary and the Beloved Disciple (vv. 25b-27)

This evocative scene is totally unique to John’s account, almost certainly deriving from (historical) traditions related to the “Beloved Disciple”. Critical commentators are naturally skeptical; if Mary were present at the cross in the original historical tradition, how/why would this have been left out by the other Gospels? Historical questions aside, we must consider what the significance of this scene was for the Gospel writer, and why it was included at this point. In my view, it represents the end, the completion of Jesus’ earthly life and ministry. The only other appearance of Mary in the Fourth Gospel was in the Cana miracle episode of 2:1-11—that is, at the very beginning of Jesus’ ministry. Now she appears again, at the very end of it. This parallelism is confirmed by the way Jesus addresses his mother (“Woman…”) in both scenes. A secondary interpretation involves the role of the “Beloved Disciple”. Clearly, a kind of substitution is involved—the Beloved Disciple takes Jesus’ place as Mary’s son; in a similar way, Jesus’ own disciples (i.e. believers), represented and symbolized by “the disciple Jesus loved”, take his place on earth, continuing his work and witness. Jesus remains present with them, through the Holy Spirit, but the mission is carried on by them. For more on this, read carefully the Last Discourses (chaps. 14-17) and note the final commission in 20:21-22.

4. Jesus’ dying words (v. 30)

Here we are able to trace something of the development of the Gospel tradition in situ. Consider all four versions in sequence:

    • In Mark, Jesus’ death is described this way: “And Yeshua, releasing a great voice [i.e. cry], breathed out [i.e. gave out his last breath]” (Mk 15:37)
    • There is sign of development in Matthew, in the wording of the narrative: “And Yeshua, again crying (out) with a great voice, released the spirit [i.e. his breath]” (Matt 27:49b)
    • In Luke, what is described in Matthew, is given form in Jesus’ own (dying) words (quoting Psalm 31:5): “And giving voice [i.e. crying] with a great voice, Yeshua said, ‘Father, into your hands I set [i.e. give] along my spirit‘. And saying this, he breathed out [i.e. breathed his last].” (Lk 23:46)
    • John’s version reads as follows: “Yeshua said, ‘It has been accomplished’, and, bending his head, he gave along the spirit.” (Jn 19:30)

Notice the common motif of releasing/giving out the breath/spirit (words in italics above). In the ordinary sense of the narrative, in John the words “he gave along the spirit” simply mean that Jesus gave out his last breath, i.e. his “spirit” (pneúma) which literally is the life-breath. However, in the context of Johannine theology, there is almost certainly a double meaning here. Jesus’ sacrificial death, followed by his resurrection and return to the Father, also results in his giving the (Holy) Spirit (Pneúma) along to his disciples (believers).

5. Jesus’ bones unbroken (vv. 32-33) and the Scriptures in vv. 36-37

The details and traditions in verses 31-37 are unique to John’s account, and it must be said that, interesting as they are as historical data regarding Jesus’ death, they carry deeper symbolic and theological significance in the Gospel. The action taken in vv. 31-32 is seen as a fulfillment of the Scripture cited in v. 36, which is best identified with Psalm 34:20. However, there can be little doubt that the reference is also to the instruction regarding the Passover lamb in Exod 12:10, 46 and Num 9:12. The chronology of the Passion narrative, and the Crucifixion specifically, in John is meant to identify Jesus with the Passover lamb—which is to be slaughtered at the time, on the very day, Jesus is on the cross (cf. Jn 18:28; 19:14, 31). His death thus coincides with the Passover sacrifice. This association had been established already at the beginning of the Gospel (1:29, 36).

The second Scripture (Zech 12:10) in verse 37 is more difficult to interpret. Its placement at the end of the episode would indicate that it is meant to summarize the crucifixion scene, both in terms of the imagery (i.e. the piercing of Jesus), and the public observation of his death. The Johannine book of Revelation (1:7, cf. my note on this verse) also cites Zech 12:10, in an eschatological context, emphasizing the coming Judgment which will take place at Jesus’ return. This does not appear to be the meaning given to the Scripture in the Gospel. Rather, the context suggests that the people (i.e. the soldiers, etc) look upon Jesus (the one they pierced) without realizing his true identity. In a way, of course, this relates to the Judgment that comes on humankind (3:18-21, etc), both now and at the end-time.

6. The Blood and Water (vv. 34-35)

Commentators continue to debate the significance and meaning of this particular detail. My own explanation is two-fold:

First, as was previously noted, the Gospel of John does not record the institution of the Lord’s Supper as part of the Last Supper narrative, though there is a parallel of sorts in the Eucharistic language used by Jesus in 6:51-58 (on this, cf. the earlier discussion). Paradoxically, John is also the only one of the Gospels which actually depicts Jesus blood being ‘poured out’ at his death. The essence of what Jesus communicates in the words of institution is described visually.

Second, and more importantly, the blood and water which comes out symbolizes the giving forth of the Spirit, along with the spiritual effect of Jesus’ sacrificial death. This is not readily apparent here in the narrative itself, but is confirmed, and can be supported, I believe, from several other passages in the Gospel, along with 1 John 5:6-8. I will be discussing this in detail in a series of notes this upcoming week.

For more on John 19:34-35 and 37, see the earlier daily note for Holy Saturday in Easter Week.

The Passion Narrative: Note on Luke 23:47

Luke 23:47

In the most recent study in this series on the Passion Narrative, I discussed briefly the difference between the centurion’s declaration in Luke and that in the Synoptic tradition of Mark/Matthew. It is one of the most dramatic differences or discrepancies in the Synoptic Passion Narrative, and has resulted in a considerable amount of commentary, both from a critical and traditional-conservative viewpoint, much of which is foreign to the context of the Gospels.

To begin with, a simplistic harmonization to the effect that the centurion actually said both things, together or in sequence, would seem to be ruled out by the fact that the two versions of the declaration have virtually the same form:

    • a)lhqw=$ (Truly)
    • o&ntw$ (Really)
      • ou!to$ o( a&nqrwpo$ (this man)
      • o( a&nqrwpo$ ou!to$ (this man)
        • ui(o\$ qeou= ([the] Son of God)
        • di/kaio$ (just/righteous)
          • h@n (was)
          • h@n (was)

Critical commentators who hold that Luke made use of the Gospel of Mark would assume that the former has altered the Synoptic tradition at this point. On the other hand, if a change/development in the tradition took place, it is perhaps more likely that it was in the opposite direction—altering “righteous (one)” to the more exalted title “Son of God”, rather than the other way around. If one is determined to retain the historicity of both, conceivably the centurion could have said something like, “Surely this man was a righteous son [of God]” —however, this remains entirely a matter of speculation.

However one judges the historical-critical question, and whether or not Luke has altered the Synoptic tradition, we are left to consider what the Gospel writer intends to convey to us with this form of the centurion’s declaration. An important detail is preserved in the first half of the verse: “And seeing the (thing which) came to be, the chief-of-a-hundred [i.e. centurion] gave esteem/honor to God [e)do/cazen] saying…”. Thus the centurion is portrayed as a God-fearing Gentile who gives esteem [do/ca] to God—i.e. recognizes and worships the true God—much like the centurion in 7:2-5ff or the centurion Cornelius in Acts 10. This is an important theme in Luke-Acts, closely related to the early Gentile mission—cf. Lk 2:30-32; 3:6; Acts 10:34-35, 44-48; 11:18; 13:46-48; 15:7-11ff, etc. On the motif of giving honor/esteem (i.e. “glory”) to God, using the verb doca/zw, see Lk 2:20; 5:25-26; 13:13; 17:15; 18:43.

As far as the declaration itself in verse 47b, there are two other important aspects to consider in the use of the adjective di/kaio$ (díkaios, “just, righteous”):

1. The Innocence of Jesus

In the LXX, di/kaio$ can be used to translate Hebrew yq!n` (“clean, without guilt”, etc), as in Gen 20:5; Prov 6:17; Joel 3:19; Jon 1:14. It seems to have this sense also in Matt 27:19 and Acts 16:39 D (cf. also 1 Pet 3:18). The innocence of Jesus is an important motif in the Passion Narrative, but is especially prominent in Luke’s version, running through the entirety of the Roman interrogation and crucifixion scenes of chapter 23—cf. especially vv. 4, 11, 14-15, 22, 41. In the dialogue between Jesus and the criminals on the cross, di/kaio$ referred to the just punishment given to the criminals, while the “good” thief declares that Jesus, on the other hand, has done “nothing out of place [i.e. nothing wrong]”. Jesus’ punishment then is not just, for he is innocent of any guilt, precisely as the centurion states in v. 47.

2. Jesus as the Just/Righteous One

The adjective di/kaio$, used as a substantive, occurs in the Lukan book of Acts as a title of Jesus—i.e., “the Just/Righteous One”, Acts 3:14; 7:52; 22:14. It is found similarly in the New Testament in 1 Jn 2:1, etc. The references in Acts reflect early Christian tradition, i.e. preaching and proclamation of the Gospel message by the first believers. It is natural that Luke would prepare his readers for it here at the end of the Gospel narrative. The early Christian use of the title may derive from Messianic passages in the Old Testament (Jer 23:5; Zech 9:9; also Isa 53:11) and later Jewish tradition (Ps Sol 17:32). We may also recall how in Luke’s version of the Crucifixion Jesus quotes Psalm 31:5; in verse 18 of the same Psalm, in a context evocative of the crucifixion scene, the sufferer is referred to as “the just/righteous one”.

Returning to the difference in the titles used by the centurion in the Markan and Lukan version of his confession— “Son of God” and “Righteous One” —it is worth considering the association of the righteous as “sons/children of God”. This derives from the Old Testament image of Israel as God’s “son” —more specifically, of the faithful ones in Israel as the sons/children of God. In Wisdom Literature, it was natural to extend this to the righteous ones generally. In the book of Wisdom, such an identification is made (cf. 2:13, 16, 18); moreover, in 3:1 there is a passage which would seem to apply well to the idea expressed by Jesus in his dying utterance (Lk 23:46): “the souls of the righteous is in the hand of God”.

The Passion Narrative: Episode 6 (Lk 23:26-49)

Episode 6: The DEath of Jesus

Luke 23:26-49

While Luke’s account of the Death of Jesus follows the basic Synoptic tradition (see part 1 of this study), there are significant differences, as well as signs of development in the tradition, which must be examined. To begin with, there is a substantial difference in the overall tone of the episode, in terms of Jesus’ Passion. In the earlier Gethsemane scene, we previously noted that, if one regards 22:43-44 as secondary to the original text (a view that is probably correct), then Luke has eliminated the sense of Jesus’ distress and anguish which is otherwise found in the Synoptic version of the Prayer scene (compare Lk 22:39-46 [omitting 43-44] with Mark 14:32-42 par). In a similar fashion, Luke seems to have removed (or at least downplays) the suffering of Jesus in the crucifixion episode. Consider that there is no reference to Jesus’ being whipped/scourged (to be inferred only from v. 22). Jesus’ great cry to God (Mk 15:34f par, citing Psalm 22:1), with its sense of anguish and despair, is also omitted. Throughout the episode Jesus appears to be calm and in control, offering instruction, exhortation and comfort to others, even as he hangs from the cross (see below). Luke retains the loud cry of Jesus at the moment of death, but without the parallel to the first cry of anguish, it comes across as more of a forceful command or declaration, all the more considering the words which Luke records.

In terms of the structure of the narrative, the Gospel writer has expanded the core episode with additional material, and, as a result, it is comprised of three distinct parts:

    1. The Way to the Cross—vv. 26-31
    2. Jesus on the Cross—vv. 32-43, which can also be divided into three portions:
      a. The scene of the crucifixion (vv. 32-34)
      b. The mocking of the Jewish leaders and Roman soldiers (vv. 35-38)
      c. The dialogue of the two criminals with Jesus (vv. 39-43)
    3. The Death of Jesus—vv. 44-49

Each of these scenes has been modified in some way, compared with the Synoptic version in Mark/Matthew.

1. The Way to the Cross (Lk 23:26-31)

In the main Synoptic version, this is limited to the (historical) traditions surrounding Simon the Cyrenian who carries Jesus’ cross-piece to the place of execution (Mk 15:21), and the reference to the name of the location (“Golgotha, (the) Skull”, Mk 15:22). Luke includes both details, with little modification (vv. 26, 33), but adds a separate tradition involving the crowd of onlookers as Jesus proceeds on the way to the Cross (vv. 27-31). Among the crowd are specified certain women who were “cutting/beating [i.e. their breasts] and wailing” —apparently according to the manner of professional mourners. Their actions prompt a response by Jesus:

“Daughters of Yerushalaim, you must not weep upon [i.e. for] me—(all the) more upon yourselves you should weep, and upon your offspring” (v. 28)

Their apparent concern over his fate is directed away, back to their own situation as “daughters of Jerusalem”. This expression, derived from Old Testament tradition (2 Kings 19:21; Isa 4:4; 10:32; 37:22; 52:2; Lam 2:10, 13, 15; Mic 4:8; Zeph 3:14; Zech 9:9, also Song of Songs 1:5; 2:7, etc), is a poetic figure for the city, the land (and its people) as a whole. In other words, the women represent the city of Jerusalem and the land of Judea. This is clear from the prophecy which follows in verses 29-30, echoing the eschatological suffering and distress announced by Jesus in Mark 13 par (especially verses 14-20). For women and children, such suffering will be particularly acute; indeed, frequently the suffering of women and children (especially women in labor) is used to symbolize the experience of a people’s collective suffering. One of the most difficult aspects of New Testament interpretation is the question of whether the terrible events predicted by Jesus in Mark 13 (par Luke 21) should be understood in terms of the Jewish war (66-70 A.D.), distant future events, or both. Luke specifically sets Jesus’ prediction of suffering (corresponding to Mk 13:14-20) in the context of the siege of Jerusalem (21:20ff). A similar siege description is part of Jesus’ prophecy-lament for Jerusalem in 19:41-44. If the Gospel of Luke is to be dated c. 70 A.D., as believed by many commentators, then it is likely that these 1st century events are foremost in the Gospel writer’s mind.

The precise meaning of the illustration in verse 31 is not entirely clear. Most likely the sense would be—if people do these things when conditions are not so bad (as they will be soon in the future), how will they act during the dry/severe time of tribulation that is to come?

2. Jesus on the Cross (Lk 23:32-43)

Several distinct Lukan features and details in this scene should be discussed.

The saying of Jesus in v. 34—Among the details of the crucifixion scene in Luke is a saying by Jesus, presumably just after he has been put upon the cross:

o( de )Ihsou=$ e&legen: pa/ter, a&fe$ au)toi=$, ou) gar oi&dasin ti/ poiou=sin.
“And Jesus said, ‘Father, release [i.e. forgive] them, for they know not what they are doing.'”

This verse is absent in a wide range of manuscripts and versions (Ë75, ac, B, D*, W, Q, 0124, 579, 1241, and some Syriac and Coptic translations), including the early Bodmer papyrus (Ë75). At the same time, it is found in the majority text, including both family 1 & 13 MSS, and the entire later Koine text tradition, along with key early manuscripts (a*, C, Dc, L, G, D, 0117) and many early translations. Thus the manuscript evidence is fairly evenly divided, perhaps with a slight edge to the shorter reading. Even if secondary, the verse may well represent an authentic saying by Jesus that was inserted in this location by early scribes; certainly it is accord with the teaching and example of Jesus expressed elsewhere in the Gospels. I disagree with scholars who claim that it is easier to explain the omission of this saying than its insertion. Orthodox scribes, on the whole, appear to have been reluctant to delete Christologically significant sayings or details, and were more likely to add or preserve them.

The context of the narrative indicates that this prayer by Jesus—whether original or secondary to the Gospel—refers to the Jewish leaders who were primarily responsible for arranging his death. On this motif of ignorance, cf. Acts 3:17; 13:27; 17:30). Note also the similar prayer by Stephen in Acts 7:60b.

The Mocking of Jesus (vv. 36-38)—In Mark 15:29-32, first the people passing by generally (vv. 29-30), and then the Chief Priests and Scribes specifically (vv. 31-32), mock Jesus, taunting him to “come down” from the cross if he is the miracle-working “Anointed One, King of Israel”. As I discussed in part 1 of this study, this parallels the Sanhedrin interrogation scene closely (see Mk 14:57-61ff par). Luke would seem to have modified this considerably. First, while people do pass by, it is only the religious leaders (“the chief [ruler]s”) who mock Jesus this way (v. 35). Second, they are joined in the taunts by Roman soldiers (vv. 36-37), a detail unique to Luke’s account. Both modifications would appear to be intentional and with a distinct narrative (and theological) purpose. This is confirmed by the fact that there is a similar modification in the earlier Roman “trial” scene. In Mark/Matthew, a crowd of the (Jewish) people demands Jesus’ death, while in Luke, it is only the group of Jewish leaders presenting the case to Pilate who are involved. The entire Roman trial scene in Luke has been composed in relation to Psalm 2:1-2 (see Acts 4:25-28). The Jewish and Roman leaders—i.e. Herod and Pilate, the Chief Priests etc and Roman soldiers—are the ones arranging and carrying out Jesus’ death. While they represent the people, it is not the people (as a whole) who are directly responsible.

Luke thus has a different sort of parallelism in this scene, which comes out especially when we examine the taunts directed at Jesus by the Jewish leaders and Roman soldiers, respectively:

    • Jewish leaders (v. 35): “He saved others—(so) let him save himself, if this (man) is the Anointed (One) of God, the (One) gathered out [i.e. Chosen One]!”
    • Roman soldiers (v. 37): “If you are the King of the Yehudeans {Jews}, save yourself!”

These two titles “Anointed One” (Messiah) and “King of the Jews” were combined together in Mk 15:31 par, as they also are in the charge against Jesus presented to Pilate in Luke 23:2. They reflect the Messianic figure-type of the coming (end-time) ruler from the line of David (cf. Parts 6-8 of the series “Yeshua the Anointed”). It is the latter title (“King of the Jews”), with its more obvious political implications, which features in the Trial and Crucifixion scenes, as emphasized in the inscription on the cross (v. 38 par).

The title “Chosen One” (eklektós, lit. “[one] gathered out”) is a different sort of Messianic title, being drawn primarily from Isaiah 42:1ff. The substantive adjective, along with the related verb (eklégomai), only rarely occurs in the New Testament as a title or description of Jesus. Most often it is used as a title for believers. However, there is an important occurrence of the title in Luke 9:35, uttered by the heavenly voice at the Transfiguration scene: “This is my Son, the One (I have) gathered out [i.e. my Chosen One]” (compare Mark 9:7 par). The same substantive adjective form used here in v. 35 is also uttered by John the Baptist (in relation to the Baptism of Jesus) in Jn 1:34 v.l.

The Dialogue with the Two Criminals (vv. 39-43)—In the Synoptic tradition, both of the criminals being crucified on either side of Jesus join in the taunts (Mk 15:32b). In Luke’s version, however, only one of the criminals acts this way, his words being recorded in v. 39. The other criminal rebukes him, and offers a declaration (confession) of Jesus’ innocence: “…this man has performed [i.e. done] nothing out of place” (v. 41). The entire dialogue is unique to Luke’s version, and concludes with the famous and moving exchange between the “good thief” and Jesus:

    • “Yeshua, remember me when you should come into your kingdom” (v. 42)
    • “Amen, I say to you (that) today you will be with me in paradise” (v. 43)

On the textual issue in verse 42, see the critical discussion in a prior article.

This is a good example of the way that a simple historical tradition (Mk 15:27, 32b) is expanded and developed.

3. The Death of Jesus (Lk 23:44-49)

In this portion, Luke follows the Synoptic tradition in Mark/Matthew more closely, but with a number of small (yet significant) differences:

    • Jesus’ “cry of dereliction” (citing Psalm 22:1) is omitted
    • The darkness over the land is described in terms of an eclipse(?) of the sun (v. 45a)
    • The splitting of the Temple curtain takes place prior to Jesus’ death (v. 45b)
    • The final cry of Jesus before death is accompanied by the words: “Father, into your hands I set along my spirit” (v. 46)
    • The climactic declaration by the centurion is entirely different (v. 47, see below)
    • The action of the onlookers in v. 48 parallels that of the women following Jesus in v. 27 (see above); note also the reference to women followers of Jesus in v. 49 (compare 8:2-3).

On the omission of the Synoptic cry of distress, see the discussion above. Instead of the quotation from Psalm 22:1, there is a different Scriptural quotation by Jesus in the cry prior to his death—from Psalm 31:5. It is possible that v. 45a is a creative reworking, in some fashion, of the tradition in Mk 15:34 par; note the points of similarity:

    • Elwi…egkate/lipe/$ me
      elœi…engkatelipes me
      “Eloi [My God]…(why have) you left me down (behind)?
    • tou\ h(li/ou e)klipo/nto$
      tou ¢liou eklipontos
      “at the sun’s being left out…”

If wordplay of this sort was intended, later scribes, unable to understand it, would have found the expression strange and been inclined to modify it to something like “and the sun was darkened,” which we see in a number of manuscripts. It is possible that, in terms of the natural phenomenon involved, Luke is referring to the occurrence of a solar eclipse.

Luke’s location of the Temple curtain event is curious, setting it prior to Jesus’ death. He may simply wish to connect it directly with the darkness over the land; as I discussed in part 1 of this study, both events are symbols of God’s Judgment upon the land (and its people). The reordering also has the effect of setting Jesus’ cry to the Father in a more climactic position.

Most difficult of all is the confession of the centurion, which has a form in Luke so very different from that of Mark/Matthew:

    • “Truly this man was (the) Son of God” (Mk)
    • “This man really was just/righteous [díkaios]” (Lk)

The different in formula—and also emphasis—is striking indeed, so much so that is necessary to address the issue briefly in a separate note.

The Passion Narrative: Episode 6 (Mk 15:21-41; Matt 27:32-56)

The Death of Jesus

Episode 6

The sixth and final episode of the Passion Narrative is the death (crucifixion) of Jesus. There is a core historical tradition which all four Gospels have inherited, including the following details:

    • The reference to the Aramaic name of the location of the crucifixion—gûlgalt¹° (Greek Golgoqa, Golgotha), “(Place of the) Skull”
    • Two others were crucified along with Jesus, one on either side
    • The inscription placed upon the cross, reading variously:
      “The King of the Jews” (Mk 15:26)
      “This is the King of the Jews” (Luke 23:38)
      “This is Jesus the King of the Jews” (Matt 27:37)
      “Jesus of Nazareth the King of the Jews” (Jn 19:19)
    • The soldiers casting lots and dividing Jesus’ clothes
    • Jesus given sour wine to drink while on the cross
Mark 15:21-41; Matthew 27:32-56

The Synoptic version of this episode, as represented by Mark’s account, is divided simply into two halves:

    • Narrative introduction—the man (Simon) standing nearby (v. 21)
      —He follows Jesus, carrying the cross (cf. Mk 8:34 par)
    • The Crucifixion and Mocking of Jesus (vv. 22-32)
    • The Suffering and Death of Jesus (vv. 33-39)
    • Conclusion—the women (Mary and the others) standing nearby (vv. 40-41)
      —They are followers of Jesus (cp. Lk 8:2-3)

The symmetry of this account is quite apparent, the two scenes being framed by narrative descriptions involving the theme of discipleship (following and suffering with Jesus). The historical notice regarding the passerby Simon (v. 21) has all the marks of authenticity, and yet would appear to be contradicted by Jn 19:17 where Jesus carries his own cross to the place of execution. Let us examine each of the principal scenes, considering the differences in Matthew’s version, which otherwise follows Mark closely (as it does throughout the Passion Narrative).

1. The Crucifixion and Mocking of Jesus (Mk 15:22-32 par)
Time: 3rd to 6th hour

If we look at the events and traditional details as they are presented, it is possible again to divide them into two parts:

    • Details surrounding the Crucifixion (vv. 22-25)
      The King of the Jews [inscription on the cross]       (v. 26)
    • The Mocking of Jesus on the cross (vv. 27-32)

The main detail in vv. 22-25 is the description of people (i.e. soldiers) dividing Jesus’ garments and casting lots for them (v. 24). While not specified by Mark, this is doubtless included as an indication of the fulfillment of prophecy (Psalm 22:18), a point made specific in Jn 19:24. The central element of the scene is the reference to the inscription on the cross (v. 26); Mark states it as follows:

“And the writing of the cause (for death) written upon (the sign above) was ‘The King of the Jews'”

As noted above, each of the Gospels records this same tradition, but the exact wording of the inscription differs in each case. Matthew specifically mentions that the inscription was over Jesus’ head on the cross, which may be parallel with his emphatic version of the inscription— “This is Jesus the King of the Jews” (27:37). The official charge against Jesus, and the cause for his execution, involves the title (“King of the Jews”) featured in the earlier interrogation scene with Pilate (v. 2). It is a title more meaningful, in political terms, than the corresponding “Anointed One” (Messiah) used by the High Priest in the Sanhedrin scene (14:61), though in Jewish thought they both refer to the same fundamental Messianic idea (cf. Parts 6–8 of the series “Yeshua the Anointed”). This is confirmed in the mocking of Jesus which follows, paralleling the Sanhedrin interrogation scene:

    • Report of the Temple-saying—14:58 / 15:29f
    • “Are you the Anointed One…?” —14:61
      “Let the Anointed One, the ‘King of Israel’ step down…” —15:32

The challenge in v. 32 is made by the Chief Priests and Scribes (i.e. members of the Council), just as the question to Jesus in 14:61 was made by the Chief (High) Priest.

2. The Suffering and Death of Jesus (Mk 15:33-39 par) Time: 6th to 9th hour

Before proceeding to the main points in the second scene, it is worth considering the symmetry of this episode:

    • Darkness over the whole land (v. 33)
      • Jesus cries out with a great voice (v. 34)
        • Mocking: “See, he calls (for) Elijah” (v. 35)
        • Mocking: “Let us see if Elijah comes…” (v. 36)
      • Jesus releases a great voice [i.e. cry] (v. 37)
    • The curtain of the Temple is torn, from top to bottom (v. 38)

With this structure in mind, I will briefly examine each element of the scene.

a. The Darkness (v. 33)— “darkness came to be upon the whole land” (Matthew: “all the land”). This is an essential image of God’s judgment against the earth—against this particular land and its people. See Exodus 10:21-23 and the motif common in the Prophets—Jer 33:19-21; Amos 8:9-10; Zeph 1:15; Joel 2:2, 10, 31, etc. Often the reference is to the eschatological “Day of YHWH”, a day of judgment/darkness, which can be expressed in terms of the day becoming like night (see Deut 28:29, etc). In the extra-canonical Gospel of Peter 15, this motif is more explicit in the description of the crucifixion scene—i.e. darkness held Judea at mid-day.

b. Jesus’ loud cry (vv. 34, 37)—The first loud cry (lit. “great voice”) by Jesus is accompanied by a quotation from Psalm 22:1 [2]. Here the historical tradition in the Gospel has preserved the Aramaic (or Aramaic-Hebrew mix) of Jesus’ quotation. It is given a reasonably literal translation in Greek: “My God, my God, unto what [i.e. for what purpose, why] have you left me down (behind) [i.e. forsaken me]?” Many attempts have been made to interpret Jesus’ words, often reading in theological and Christological aspects which are essentially foreign to the Gospel tradition here. The natural explanation is that Jesus, in his suffering, pain and distress, is identifying with the sentiment and feeling expressed by the Psalmist. Indeed, the entire Crucifixion scene alludes to Psalm 22—not only the cry echoing verse 1, but also the mocking taunts of the onlookers (vv. 7-8), the dividing of the garments (v. 18), and the overall crucifixion setting (v. 16).

The words of the cry, with the sentiment expressed, is similar to Jesus’ prayer in the earlier Gethsemane scene (Mk 14:34-36ff par). The second loud cry at the moment of his death echoes this first cry, as he breathes out his last breath. It is a simple and powerful evocation of a human being experiencing the moment of death in the midst of extreme pain and suffering. It is hard to imagine a more direct testimony to Jesus’ own identification with the human condition (see Hebrews 5:5-8ff).

c. The association with Elijah (vv. 35-36)—In the context of the narrative, the historical tradition involves wordplay between the underlying Aramaic °E~l¹hî (“My God”) and °E~lîy¹hû (“Elijah”). Critical scholars have found certain historical and linguistic difficulties with this, but there can be no doubt that the Gospel tradition draws upon it for the important Messianic association with Elijah that is reflected throughout the early tradition. It is related to the identity both of John the Baptist and Jesus. The principal Scriptural reference underlying the Messianic tradition is Malachi 4:5 [3:23], a passage which establishes the connection between Elijah and the coming Judgment. The mocking by the crowd, parallel to that in the prior scene (see above), could indicate that Jesus was recognized by some as a Messianic Prophet in the manner of Elijah. The figure of Elijah was especially associated with the working of miracles, including the raising of the dead, and the crowd’s taunt calls on Jesus to work a miracles and to “come down” from the cross. For more on Elijah, cf. Part 3 of the series “Yeshua the Anointed”.

d. The Temple curtain (v. 37)—The rending of the Temple curtain (katapétasma), like the darkness, symbolizes the Judgment by God—only from a religious standpoint, as it involves the sacred Place (the Temple) in Jerusalem. Probably this refers to the curtain at the entrance to the innermost shrine (“Holy of Holies”), see Hebrews 6:19; 9:3; 10:20. The motif of Judgment would seem to be confirmed by the structural parallel with the darkness (cf. the outline above)—darkness over the whole land, the curtain torn from top to bottom. The passive form of the verb (eschísthe, “was split”) should be understood as a divine passive, with God as the implied actor. For Old Testament and Jewish parallels, cf. the departure of YHWH’s glory from the Temple in Ezekiel 10, also the imagery e.g., in 2 Baruch 6:7; 8:2, and Testament of Levi 10:3. Possibly there is here an allusion to the act of tearing one’s clothes in mourning (2 Kings 2:12); such an act is associated with the destruction of the Temple in the Talmud (b. Mo’ed Qatan 25b).

The letter to the Hebrews allows for a different sort of interpretation to the motif. Through his sacrificial death, Jesus (as High Priest) gives believers access, in a symbolic/spiritual sense, into the innermost shrine of God, effectively ‘splitting’ or removing the curtain (Heb 6:19-20; 9:3ff; 10:19-20). This makes for a beautiful application of the tearing of the curtain in the Passion narrative, but there is no real indication that such was in the mind of the Gospel writers. A more likely allusion, in the context of the Gospel narrative, is to the splitting of the heavens (using the same verb schízœ) at the Baptism of Jesus (Mk 1:10 par), when the Spirit (of God) comes unto/into/upon Jesus at the Baptism. In a similar manner, the Temple curtain is split at the time of Jesus’ death, when his own spirit (i.e. life breath) goes out of him (15:37b).

e. The Centurion’s words (v. 39)—The declaration by the centurion (“Truly this man was [the] Son of God”) is the climactic moment of the entire Passion Narrative. It is parallel to the question by the High Priest (14:61 par), and must be understood here in the context of the Judgment on the land (see above). A certain kind of irony is contained in this verse—a Gentile Roman confesses what the Jewish religious leaders are unwilling (or unable) to accept. Indeed, the centurion’s confession stands in stark contrast to the mocking taunts of the Jewish people and leaders at the scene (vv. 29-32). Occasionally commentators have tried to determine, at the historical level, what such a confession might have meant for such a Gentile Roman—that is, in what sense he might have understood the expression “Son of God”. While this is interesting speculation, it is generally irrelevant to the purpose of his confession in the context of the Gospel narrative. For the writer and his readers, as well as for all Christians today, the declaration is understood as a confession of belief in Christ’s true identity as Messiah and Son of God.

For several of the references given above, and for a detailed critical analysis of this episode in the Passion Narrative, cf. R. E. Brown, The Death of the Messiah, Anchor Bible Reference Library [ABRL] (1994), pp. 1031-1198.

The Passion Narrative: Episode 5 (Jn 18:28-19:16)

Episode 5: The INterRogation before pilate

John 18:28-19:16

Part 1 of this study examined the Roman “Trial” of Jesus before Pilate, as preserved in the Synoptic Tradition. The version of this episode in the Gospel of John has certain unusual details and elements which require a separate study, however brief. Apart from the issues of chronology related to the Passover festival (see the historical detail in 18:28, 39, along with the recent supplemental note), the Johannine account has a unique structure, and line of tradition, centered on the two exchanges between Jesus and Pilate in 18:33-38 and 19:8-11. The remainder of the narrative here, while differing in detail from the Synoptic, is fully in accord with the essential (historical) tradition shared by both.

The Structure of the Episode
    • Pilate goes out to the J. L. to hear their accusation/charge against Jesus (vv. 29-32)
      • Pilate goes in to question Jesus [Exchange #1] (vv. 33-38a)
        • Pilate goes out to the J. L.—his finding (innocence) and their call for judgment (guilt) (vv. 38b-40)
          • Pilate takes Jesus and has him whipped/scourged—the mocking (19:1-3)
        • Pilate goes out to the J. L.—his finding (innocence) and their call for judgment (guilt/death) (vv. 4-7)
      • Pilate goes in to question Jesus [Exchange #2] (vv. 8-11)
    • Pilate goes out to the J. L.—he grants their demand for judgment/punishment against Jesus (vv. 12-16)

There is a very precise, symmetrical structure to this episode in John’s Gospel; from the standpoint of the narrative, it plays upon the image of Pilate going out to the Jewish leaders (J. L.), and going in (i.e. inside the Palace) to deal with Jesus, presented in alternating scenes. See R. E. Brown, The Gospel According to John, Anchor Bible [AB] Vol 29, 29A, pp. 858-9.

Exchange #1—Jn 18:33-38

Each of the dialogue exchanges between Jesus and Pilate centers on a title which is part of the charge/accusation against Jesus by the Jewish embassy. The first is “King of the Jews”, which features in the Synoptic interrogation scene (Mk 15:2 par). As in the Synoptics, Pilate asks Jesus “Are you the King of the Jews?” (v. 33). Nothing in the narrative prepares us for this, since John does not have anything comparable to the Sanhedrin scene of the Synoptics in which the question of Jesus’ identity as the “Anointed One” (Messiah, presumably of the Davidic Ruler type) was addressed. The Lukan version of the interrogation before Pilate specifically makes this part of the accusation against Jesus (Lk 23:2). There is little reason to doubt that this political aspect of Jesus as the “Messiah” (and thus a would-be king of Judea) was the basis of the trial/interrogation by the Roman governor Pilate. John’s Gospel, unlike Luke’s, has little interest in the political implications. Rather, the author uses the title “King of the Jews” to emphasize a theological point related to Jesus’ true identity.

The dialogue begins from the political level of understanding; Pilate assumes that the title “king” (basileús) is being used in the customary ethnic and national/political sense—i.e. “king of the Jews“, of Judea. Jesus’ initial response in verse 34 plays on Pilate’s own understanding of the title, and of Jesus’ identity— “(Is it) from yourself (that) you say this, or did others say (it) to you about me?” The question draws out from Pilate the ethnic/national aspect of his way of thinking—i.e. Roman vs. Jew: “I am not a Jew, [am I]? Your (own) nation…gave you along to me” (v. 35). In his mind, Jesus’ actions must have similar national and political implications, as he asks “What (have) you do(ne)?”

This leads in to the dual statement by Jesus in vv. 36-37; it has the same place and function as the expositions of Jesus in the earlier Discourses, in which he explains the true, deeper meaning of his words. In this instance, he explains the sense in which he is a king—that is, the true nature of kingship and his own true identity. The first part of this exposition deals with the nature of kingship and the idea of a kingdom. The structure of Jesus’ statement is interesting in its logical symmetry:

    • “My kingdom is not out of this world(-order)”
      — “If my kingdom were out of this world(-order)…”
    • “But now my kingdom is not from this (place)”

The conditional, hypothetical statement in between (“If my kingdom were…”) reflects precisely what is denied by the surrounding declarations. The sort of political, partisan action assumed by the conditional statement is completely foreign, even antithetical to Jesus’ kingdom. This, of course, was illustrated vividly by the rash and violent action by Peter with the sword in the earlier Garden scene (vv. 10-11), and has, sadly, been repeated by Christians and non-Christians alike throughout the ages. Such violence and partisan power-struggles are part of the world—the current world-order, which is dominated by darkness (1:5; 3:19; 8:12; 12:35, 46; 13:30b; cf. also Lk 1:79; 22:53 and 23:44 par). Jesus declares flatly “My kingdom is not of/from this world”.

The second part of the exposition is introduced by another question from Pilate. Since Jesus speaks of “my kingdom”, Pilate naturally asks him “Are you not then a king?”. This moves the discussion more decidedly in the direction of Jesus’ identity (see below). With his response in verse 37, Jesus make no further mention of his kingdom or being a king, telling Pilate “You say that I am a king”; instead he makes a powerful statement regarding his purpose in the world, which epitomizes the theological portrait of Jesus in the Fourth Gospel:

“Unto this [i.e. for this purpose] I have come to be (born) and unto this I have come into the world that I might bear witness to the truth—everyone being out of [i.e. who is from] the truth hears my voice”

Exchange #2—Jn 19:8-11

The second exchange relates to the second title— “Son of God” —which is part of the Jewish Council’s charge against Jesus: “…according to the Law, he ought to die, (in) that he made himself (to be the) Son of God” (19:7). The mention of the title “Son of God” causes fear in Pilate—doubtless a superstitious kind of fear, but one which fits the Johannine portrait of Jesus, whose commanding (divine) presence and authority caused the soldiers in the Garden scene to shrink back and fall to the ground at the sound of his voice and the declaration “I am” (18:5-6). And, indeed, it is the very theme of authority (exousía) which is central to this portion of the dialogue. It begins with another question by Pilate—this time specifically addressing Jesus’ identity (see above): “Where are you (from)?” (v. 9), to which Jesus gives no answer (see Mark 14:61; 15:5 par). This provokes Pilate to make his own declaration, expressing his political (worldly) authority as Roman Imperial governor:

“Do you not see [i.e. know] that I hold (the) authority [exousía] to loose you from (custody) and I (also) hold the authority to put you to the stake?” (v. 10)

The noun exousía fundamentally refers to something which is in a person’s power, i.e. that he/she has the ability to do—literally it means something which is (or comes) out of [ek] a person. Pilate refers specifically to the power/authority he holds (vb. éxœ) personally. However, quite often the noun is used in the sense of something which a person is allowed or permitted to do (i.e. by a higher authority). Jesus develops this aspect in his reply to Pilate:

“You (would) hold no authority (at all) against me, if it were not [i.e. had not been] given to you from above [ánœthen]” (v. 11a)

The use of the adverb ánœthen (“from above”) is of tremendous theological significance in the Gospel of John, being used in the Discourse of Jn 3:1-21 (vv. 3, 7)—i.e. the idea of a person (believer) coming to be born “from above”. It appears again in 3:31, part of a powerful Christological statement (by John the Baptist?) which is similar to Jesus words here, especially if they are combined with the earlier declaration in v. 37 (see above):

“The one coming from above is over (and) above all (thing)s; the one being out of [i.e. from] the earth is (indeed) out of the earth and speaks out of the earth. The one coming out of heaven [is above all things]; he witness of what he has seen and heard, and (yet) no one receives his witness”

With Jesus’ concluding statement, the scene returns to the traditional motif of the responsibility for Jesus’ death being upon the Jewish leaders, rather than Pilate (on this aspect of the Gospel tradition, see part 1 of this study).

The Passion Narrative: Episode 5 (Mk 15:1-20 par)

The Interrogation (“Trial”) of Jesus before Pilate

Episode 5

Mark 15:1-20; Matthew 27:1-31; Luke 23:1-25

When we turn to the Roman “Trial” of Jesus—that is, his interrogation/examination before the Roman Governor Pontius Pilate—we note immediately the parallelism between this episode and the earlier Sanhedrin scene. This comes out most clearly in the Synoptic version, as represented by Mark and Matthew. There is a basic similarity of structure/outline:

Even more precise is the structure of the interrogation scenes:

    • Testimony given against Jesus—14:56-59
      —Interrogator asks: “Do you answer nothing?” / Jesus is silent—14:60-61
      • Question: “Are you the Anointed One…?” —14:61b
        —Jesus’ answer: “You said (it)”—Matt 26:64a (cp. Mk 14:62a)
      • Question: “Are you the King of the Jews?” —15:2a
        —Jesus’ answer: “You say (that)”—15:2b
    • Testimony given against Jesus—15:3
      —Interrogator asks: “Do you answer nothing?” / Jesus is silent—15:4-5

There can be little doubt either of the close relationship between the titles “Anointed One” (i.e. Messiah) and “King of the Jews” in the questions asked by the High Priest and Pilate, respectively (they are connected in Lk 23:2). Both refer essentially to the same (Messianic) idea—of a ruler from the line of David who will appear (at the end-time) to deliver God’s people (the faithful of Israel) and bring Judgment on the nations. Any claim of kingship would have been viewed by the Roman government as a direct challenge to imperial authority in the provinces (of Judea, etc). The Gospel of John develops this theme of Jesus as “King of the Jews” considerably, as will be discussed in a separate note. It is also only in John’s account that the religious/theological charge emphasized in the earlier Sanhedrin scene is brought out again in this episode. These two aspects, the two halves of the Council’s question—Messiah/King and Son of God—define the structure of the Roman trial/interrogation in John’s version.

With regard to the Synoptic tradition in Mark/Matthew, the structure has been outlined above:

    • The Interrogation of Jesus by Pilate (“Are you the King of the Jews?”)—Mk 15:1-5
    • The Judgment, pronounced by the people/crowd—Mk 15:6-15
    • The Mocking/Mistreatment of Jesus (“Hail, King of the Jews!”)—Mk 15:16-20

There are here two important themes: (1) the motif of Jesus as “King of the Jews”, and (2) the emphasis on the crowd (i.e. the Jewish people) as the ones who pronounce judgment on Jesus. This latter theme is as clear in the Gospel (and early Christian) tradition as it is uncomfortable for most Christians today. There was a decided tendency by early (Gentile, non-Jewish) Christians to mitigate Pilate’s role in the death of Jesus, casting him as a sympathetic figure and placing the responsibility squarely on the Jewish leaders and people as a whole. The extent to which this is manifest in the Gospels is controversial and continues to be debated. Generally, however, the later Gospels (especially Matthew, see below) seem to show evidence of this tendency in developing the tradition. Even in the (earlier) Gospel of Mark, the central role of the crowd in this episode is clear enough (15:8-15). It also helps to explain the prominent inclusion of the historical tradition regarding Barabbas. The Gospel writer goes out of his way to explain that Barabbas was a violent rebel who has committed murder (v. 7; Lk 23:19 [Matthew is less precise]). When given a choice between a murderer and Jesus, the people choose the murderer!

The sympathetic portrait of Pilate indicated by Mk 15:8-10ff is developed considerably in Matthew and Luke. Matthew includes two important additions:

    • The introduction of Pilate’s wife who refers to her auspicious dream (declaring Jesus’ innocence, 27:19), and
    • The vivid exchange between Pilate and the crowd in vv. 24-25; the crowd’s climactic declaration is ominous indeed: “(Let) his blood (be) upon us and upon our offspring!” No thoughtful Christian can read this today without, I think, feeling a bit uncomfortable about its inclusion in the Gospel.

Luke’s version (23:1-25) is more complex, with a number of important differences between the Synoptic account in Mark/Matthew:

    • The interrogation scene (vv. 1-5) includes more precise accusations about the danger Jesus poses to Roman authority and the peace of the region, involving both political (v. 2) and religious (v. 5) charges.
    • Luke is unique in including the tradition that Pilate sent Jesus to Herod Antipas, to be judged (or examined) as one under Herod’s jurisdiction (vv. 6-12). In Luke’s version the mocking is done by Herod’s, not the Roman, soldiers (v. 11). Ironically, it is stated that this exchange resulted in friendship/reconciliation between Pilate and Herod (v. 12).
    • In the judgment scene (vv. 13-25), it is the group of Jewish leaders—representatives of the Council (v. 13)—and, apparently, not a crowd of the people as a whole, who demand Jesus’ death and the release of Barabbas. This emphasis, along with the inclusion of Herod (together with Pilate), is probably intended by the Gospel writer to bring Psalm 2:1-2 to mind, and is surely influenced by that Scripture (see Acts 4:25-28).

A significant point in the Synoptic versions is that the interaction between Jesus and Pilate is limited to the brief exchange in the interrogation scene (Mk 15:2-5 par), which, as noted above, was consciously shaped to match the Sanhedrin interrogation scene precisely. The situation is quite different in the Gospel of John, which records an extended dialogue between Jesus and Pilate, including some of the most memorable and striking verses in the entire Gospel. Because of this unique situation, I am devoting part 2 of this study to a discussion of John’s version of the Roman “Trial”.

The Passion Narrative: Episode 4 (Mk 14:53-72 par)

The Interrogation (“Trial”) of Jesus before the Sanhedrin

Episode 4

The “trial” of Jesus, which the Gospel Tradition preserves in two episodes—(1) an interrogation by the Sanhedrin and (2) and examination by the Roman governor (Pilate)—has been one of the most hotly debated aspects of the Passion narrative, primarily in terms of the historicity of the differing Gospel accounts. I will not be dealing extensively with all the historical-critical questions, but I address certain points related specifically to the Sanhedrin episode in a supplemental note.

There would seem to be three primary lines of tradition preserved:

    1. What we may call the core Synoptic tradition, represented by Mark and Matthew
    2. The Lukan version, which only partly follows the Synoptic, and
    3. The Johannine, which differs considerably in various ways

Even though many critical scholars feel that John preserves the most accurate historical detail and ordering of events, I will continue the method in this series of beginning with the Synoptic Tradition, represented primarily by the Gospel of Mark.

Mark 14:53-72; Matthew 26:57-75; Luke 22:54-71

The Markan outline of the episode is as follows:

    • Vv. 53-54—Introduction, establishing the two scenes:
      • (a) The assembly of the Chief Priests, Elders and Scribes—i.e. the Council (Sanhedrin), v. 53
      • (b) Peter waiting outside in the courtyard of the High Priest, v. 54
    • Vv. 55-65—Jesus before the Council (Sanhedrin, synédrion), which may be divided into three parts:
      • The (false) witnesses against Jesus, with a report of the “Temple-saying” (vv. 55-59)
      • The question by the High Priest, with Jesus’ response (vv. 60-62)
      • The judgment against Jesus, with the subsequent mocking/mistreatment of him (vv. 63-65)
    • Vv. 66-72—Peter’s three-fold denial of Jesus

I will be discussing the scene of Peter’s denial in more detail in an upcoming note (on the Peter traditions in the Passion and Resurrection narratives). It is important to emphasize two facts:

    • The essential outline of the three denials, and the basic setting/location, are common to all four Gospels, indicating an extremely well-established and fixed tradition. The three-fold denial can be assumed (on objective grounds) to derive from a reliable historical tradition, since a single denial surely would have been sufficient in terms of its place and value in the narrative.
    • The specific details with regard to how each denial took place—where and when it occurred, who was involved, etc—differ considerably between Mark/Matthew, Luke and John. Even between Mark and Matthew, otherwise so close at this point, there are key differences. This indicates that the precise details surrounding the denials were not nearly so well-established, and remained fluid in the way they were presented by each Gospel writer. For a convenient comparative chart showing the many differences in detail, see R. E. Brown, The Gospel According to John, Anchor Bible [AB] Vol. 29, 29A (1970), pp. 830-1.

Each Gospel writer understood the dramatic power of the denial scene, and felt free to explore and express this creatively. Consider the slight but significant difference between the introduction in Mk 14:54 and Matt 26:58—the description of Peter in the courtyard is very close, except for the final words which set the dramatic tension:

    • Mark creates a vivid visual picture: “…and he was…warming himself toward the light [i.e. in front of the fire]”
    • While Matthew has a more psychological orientation: “..and he sat… (waiting) to see the completion [i.e. how things would end]”

The rooster crow of the original tradition is also extremely evocative, indicating that Peter suddenly awakes to realize what he has done. The effect is emphasized by his sudden weeping (in remorse/regret); Matthew and Luke share a detail in common here, specifically stating that Peter went away (outside of the courtyard): “…and going outside he wept bitterly” (Matt 26:72; par Lk 22:62). The rooster crow, together with Peter’s reaction, is the climactic moment of the episode in Mark/Matthew.

Luke (22:54-71) treats the scene differently in the way he has ordered events, placing it first in the episode, ahead of the interrogation of Jesus. The effect of this is two-fold:

    • It makes Jesus’ response to the Council (vv. 66-71) the climactic moment of the episode, and
    • It joins Peter’s denial to betrayal of Jesus by Judas (vv. 47-53 + 54-62), just as the author does in the Last Supper scene. In the earlier episode this appears to have been done, in part, to emphasize the theme of true and false discipleship, by connecting the prediction of Judas’ betrayal (vv. 21-23) to the prediction of Peter’s denial (vv. 31-34) with a short block of teaching (vv. 24-30) between.

In contrast to the accounts in Luke and John, Mark and Matthew portray the scene of Jesus before the Council in terms of a formal trial, with witnesses and the delivery of a sentence. This portrait informs the structure of the scene, with its three parts.

Part 1—The Witnesses against Jesus (Mk 14:55-59; Matt 26:59-62)

The Synoptic tradition here records that the Council desperately sought to find witnesses against Jesus (to support a sentence of death), but they could find no reliable testimony. The only charge brought against Jesus was a report of a saying regarding the Temple (the so-called “Temple saying”); interestingly, Matthew and Mark differ in the wording of this (as it was reported in the narrative):

“I will loose down [i.e. dissolve/destroy] this shrine made-with-hands, and through [i.e. after] three days I will build another (house) made-without-hands” (Mk 14:58)
“I am able to loose down [i.e. dissolve/destroy] the shrine of God, and through [i.e. after] three days to build (the house again)” (Matt 26:61)

Mark and Matthew both state that this report was made by false witnesses, presumably implying that the report was false (i.e. that Jesus never said any such thing). The closest we come in the Synoptics is Jesus’ prediction of the Temple’s destruction in Mark 13:2 par. However, the Gospel of John records a saying by Jesus rather similar to that which is reported by the “false” witnesses:

“Loose [i.e. dissolve/destroy] this shrine and in three days I will raise it (again)!” (Jn 2:19)

If we accept this as an authentic saying by Jesus, occurring at the time of the Temple “cleansing” scene (located close to the Passion narrative in the Synoptics), then the report of the “false” witnesses could certainly reflect the memory of such a saying. The Gospel of John, of course, specifically interprets the saying in 2:19 as referring to the death and resurrection of Jesus himself (vv. 21-22)—an interpretation most appropriate in the context of the Passion narrative. For more on the Temple saying (and cleansing) traditions, cf. my earlier notes and article on the subject.

Part 2—The Question by the High Priest (Mk 14:60-62; Matt 26:62-64)

The initial question by the High Priest (identified in Matthew as Caiaphas) relates to the testimony of the “false” witnesses, and to this Jesus gives no answer (Mk 14:60-61a). The second question is central to the episode (and the entire Passion narrative), as well as serving as the climactic statement regarding the identity of Jesus within the Synoptic Tradition. In Mark, the exchange is:

    • High Priest: “Are you the Anointed One [ho Christós], the Son of the (One) spoken well of [i.e. Blessed One, God]?” (v. 61b)
    • Jesus: “I am—and you will see the Son of Man sitting out of the giving [i.e. right-hand] (side) of the Power and coming with the clouds of Heaven!” (v. 62)

For more on this saying, see my earlier notes and the article on the title “Son of Man” in the series “Yeshua the Anointed”. The Son of Man saying here is an allusion both to Daniel 7:13 and Psalm 110:1—Scripture passages which were enormously influential in shaping early Christian thought regarding the nature and identity of Jesus. As I have argued elsewhere, in the Son of Man sayings with an eschatological orientation, Jesus appears to identify himself specifically with the heavenly figure called “Son of Man” (from Daniel’s “one like a son of man”, 7:13)—who will appear at the end-time to deliver God’s people and oversee the Judgment on humankind. Early Christian tradition associated it specifically with the image of the exalted Jesus seated at the right hand of God (Acts 7:55-56, etc).

Matthew’s version of the Son of Man saying (26:64) is close to that in Mark, but the question by the High Priest shows signs of development—i.e., it has been shaped to echo the confession by Peter in 16:16:

    • Peter: “You are the Anointed One, the Son of the Living God”
    • Caiaphas: “I require an oath out of you, according to the Living God, that you would say (to us) if you are the Anointed One, the Son of God!”

For more on the differences in this scene, see below.

Part 3—The Judgment and mistreatment of Jesus (Mk 14:63-65; Matt 26:65-68)

The reaction to Jesus’ response—in particular, the identification of himself as the heavenly/divine “Son of Man” —results in the charge of blasphemy, i.e. that he has insulted (vb. blaspheméœ) God by claiming divine status and attributes. This is the basis for their decision that he is one who holds on him [i.e. against him] the (grounds for) death (énochos thanátou estin). The mistreatment of Jesus is parallel to the more expanded tradition of his being mocked by the Roman guards (Mk 15:16-20 par), and would certainly be seen as a fulfillment of the Passion prediction in Mk 10:32-34 par.

Luke 22:54-71 and John 18:12-27

As noted above, Luke has the scenes in reverse order from that of Mark/Matthew, resulting in three distinct parts:

    • Peter’s Denial (vv. 54-62)
    • Mistreatment of Jesus (vv. 63-65)
    • Jesus before the Council (vv. 66-71)

The question of whether Luke has the more correct historical order of events is discussed in the supplemental note on the Trial episode. I mentioned the significance for the author of joining together the failure of the two disciples—Judas (the Betrayal, vv. 21-23, 47-53) and Peter (the Denial, vv. 31-34, 54-62)—to bring out the theme of true discipleship, found in vv. 25-30 and the double exhortation of the Lukan Prayer scene (vv. 40, 46). The unique detail of Jesus turning to look at Peter following the rooster crow (v. 61a) probably should be taken as parallel to the words of Jesus to Peter in vv. 31-32—a sign of care and concern. The connection also serves to enhance the dramatic moment when Peter realizes what he has done, and how it had been foreseen by Jesus (v. 61b).

The Lukan version of the Council scene, though clearly drawing upon the same basic tradition as Mark/Matthew, is presented in a very different form. Apart from the morning setting (v. 66a, cf. the supplemental note), Luke’s version has the following differences:

    • There is no reference to the witnesses or Temple-saying (see above), thus removing the sense that this is a formal trial.
    • Luke presents the Council as a whole questioning Jesus, rather than the High Priest specifically (vv. 66b, 70a [“they all said…”]). The Council plays a similar collective role in Luke’s version of the Roman trial scene (23:13ff, 18ff).
    • The question involving the titles “Anointed One” and “Son of God” is divided into two distinct questions, separated by the Son of Man saying by Jesus (vv. 67-70):
      • “If you are the Anointed One, say (it) to [i.e. tell] us” (v. 67)
      • Jesus: “…but from now on the Son of Man will be sitting out of the giving [i.e. right-hand] (side) of the power of God” (v. 69)
      • “Then you are the Son of God…?” (v. 70)

Historical considerations aside, this arrangement may be intended to make a theological (and Christological) point—namely, that Jesus is something more than the Anointed One (i.e. Messiah) as understood by the traditional figure-types of an expected end-time Prophet or Davidic ruler. The allusion to Psalm 110:1 reminds us of the interesting tradition, set in the general context of the Passion (the last days in Jerusalem), in which Jesus discusses the meaning and significance of this verse (Mk 12:35-37 par). For more on this, cf. my earlier series “Yeshua the Anointed” (esp. Part 8, and Part 12 on the title “Son of God”).

While the form of the Son of Man saying is relatively fixed between the Synoptic Gospels, that of Jesus’ initial answer to the question(s) by the Council differs markedly. In Mk 14:62, Jesus gives a clear affirmative answer: “I am”, while Matthew’s version (26:64) is much more ambiguous— “You said (it)”, and could be understood in the sense of “You said it, not me”. Because Luke records two separate questions, Jesus gives two answers:

    • To the question “If you are the Anointed One, tell us”: “If I say (it) to you, you will (certainly) not trust (it), and if I question you (about it), you (certainly) will not answer.” (vv. 67b-68)
    • To the question “Then are you the Son of God?”: “You say that I am.” (v. 70b)

The second Lukan answer seems to combine both the Markan and Matthean forms—truly an interesting example of variation and development within the Gospel tradition.

John 18:12-27

John’s account of this episode differs again from the Synoptics (its relation to the Lukan order/arrangement of events is discussed in the supplemental note). The two main points of difference are:

    • There is no scene of Jesus before the Council, as in the Synoptics; rather we find different interrogation scene in the house of the chief priest Annas (formerly the High Priest A.D. 6-15). The introductory notice (18:13) states that Annas was the father-in-law of the current Chief Priest Caiaphas (A.D. 18-36). Verse 19 is ambiguous, but the reference in v. 24 indicates that Annas is the “Chief Priest” interrogating Jesus (see also Luke 3:2).
    • Peter’s denial is intercut with the interrogation scene:
      • Scene 1—Jesus is arrested and let to Annas (vv. 12-14)
        —Peter’s First Denial (vv. 14-18)
      • Scene 2—Jesus is interrogated by Annas (vv. 19-24)
        —Peter’s Second and Third Denials (vv. 25-27)

Clearly John’s Gospel is drawing upon a separate line of tradition. The interrogation scene in vv. 19-24 is surprisingly undramatic, compared with the Synoptic version, but it fits the essential portrait of Jesus in the Johannine Passion narrative. As I discussed in the earlier study on Garden scene, the depiction of Jesus’ calm and commanding authority is set in contrast to Peter’s rash and violent act with the sword. The intercutting in verses 12-27, I believe, serves much the same purpose—to juxtapose Jesus’ calm and reasoned response to the interrogation (vv. 20-21) with Peter’s reaction to the ones interrogating him.

It is hard to tell how much development has gone into the tradition recorded in vv. 13-14, 19-24. We do find several Johannine themes present in Jesus’ response:

    • His presence in the world, speaking (the words of the Father)
    • His public teaching in the Synagogue and Temple, which reflects the great Discourses of chapters 6-8 and 10:22-39.
    • The emphasis on his followers (disciples) as those who bear witness to him

Overall, however, the development would seem to be slight, compared with the dialogue scenes between Jesus and Pilate in 18:33-38; 19:9-11 (to be discussed).

The Passion Narrative: Note on the Sanhedrin “Trial”

As is discussed in the current study (on Episode 4), there are three different versions of the “Trial” (or examination/interrogation) of Jesus before the ruling authorities of the Jewish Council (Sanhedrin). In each of these versions there is a distinct order and arrangement of traditional material:

In Mark/Matthew, there is a night session of the Council, assembled quickly, it would seem (Mk 14:53), soon after Jesus’ arrest on the evening beginning the Passover (Nisan 15). It is presented as a formal trial, with witnesses and announcement of sentence. The central scene has the High Priest (identified as Caiaphas by Matthew, 26:57) questioning Jesus directly (Mk 14:60-62). A second session (consultation) is mentioned in 15:1, after which Jesus is sent to the governor Pilate, where the Council would present their case (and the criminal charge) against Jesus.

In Luke, by contrast, there is only one session of the Council recorded, corresponding to the night session of Mk 14:53-65 par, but Luke has it set specifically in the morning (“as it came to be day”, 22:66). This fits with the Lukan order of events, which has the session take place after Peter’s denial.

The Gospel of John has nothing corresponding to the Synoptic episode, but instead records a separate interrogation of Jesus (by the Chief Priest Annas, described as the father-in-law of Caiaphas, 18:13). There is very little in common between this scene and the Synoptic account, except a general similarity of outline with Mark/Matthew—questioning, Jesus’ response, mistreatment (striking) of Jesus. Peter’s denial is intercut with the interrogation scene, indicating that they are taking place simultaneously.

For those concerned with harmonizing the Gospel accounts, it is relatively simple to blend Luke’s version together with that of John, but extremely difficult to reconcile either Luke or John with the order/arrangement in Mark/Matthew. Consider how the events in Luke and John might be put together:

    • NIGHT-TIME
      • Jesus is bound and taken to the house of the Chief Priest Annas where he is held in custody—Jn 18:12-14
      • Peter is waiting the Chief Priest’s (Annas, not Caiaphas) courtyard outside—Jn 18:15-16; Lk 22:54-55
      • Peter’s First denial, while he waits—Jn 18:17-18; Lk 22:56-57
      • Jesus is interrogated by Annas—Jn 18:19-21
      • While this is going on(?), Peter’s second and third denials take place outside—Jn 18:25-27; Lk 22:58-62
      • Mistreatment/abuse of Jesus by the “police” holding him in custody—Jn 18:22-23; Lk 22:63-65 (details differ between the two at this point)
      • Jesus is bound and sent to Caiaphas—Jn 18:24
    • MORNING
      • Jesus is question by the Council, led by the High Priest Caiaphas (to be inferred, cf. the Synoptic account)—Lk 22:66-70
      • [This may include witnesses/testimony as in the Synoptic account, cf. the wording in Lk 22:71]
      • Determination that Jesus is worthy of being sentenced to death—Lk 22:71
      • Jesus is bound and taken to the governor Pilate where the Council will present its case—Lk 23:1; Jn 18:28a

Insofar as it is possible to get back to the historical level of the tradition, in an objective sense, this would probably be a fair reconstruction. The problem lies in evaluating the Synoptic evidence of the Council session held at night (which Luke sets in the morning). Most critical scholars would hold that the Lukan order is almost certainly more accurate, and that, in many respects, John’s account, with its wealth of unique local detail (cf. Jn 18:10b, 12-13, 15b-16, 26, 28b, etc) may be closest to the original historical tradition. The reasons for preferring John’s chronology, in which all these events occur on the day before Passover (Nisan 14), rather than on Passover itself, have been discussed in an earlier note. At the same time, it is hard to explain the curious inclusion of the Synoptic Temple-saying report if it were not part of the historical tradition regarding an accusation/charge brought against Jesus by the Council. If Luke were aware of this tradition—which would be the case if he made use of the Gospel of Mark (cf. also Acts 6:14)—one can only guess as to why it was left out in his account. Perhaps the similarity of language and thought with portions of the speeches by Stephen (7:48-50) and Paul (17:24-25) in Acts prompted him to omit the “false” report of the saying (= a false saying by Jesus?) in Mk 14:58 par.

The Passion Narrative: Episode 3 (Judas Iscariot)

Excursus on Judas Iscariot

Special attention should be given to the traditions involving Judas Iscariot in the Passion Narrative. He features variously in the first three episodes, as has been discussed in the prior studies. The betrayal of Jesus by Judas is one of the most secure traditions in the entire Narrative, and its authenticity as a historical tradition is all but certain (on objective grounds). The reasons for this are:

    • It is preserved in multiple lines of tradition, evidenced at multiple points in the Synoptic and Johannine lines, as well as Acts 1:16-20.
    • Early Christians are unlikely to have invented the idea that Jesus was betrayed by one of his closest followers, nor would it have been readily accepted if it did not derive from a strong and reliable historical tradition.
    • Indeed, there are signs that early Christians (including the Gospel writers) were uncomfortable with the idea and felt the need to explain it (on this, see below).

To this we must note that Judas scarcely appears in the Gospels at all apart from his role as betrayer in the Passion Narrative. He is associated exclusively with the betrayal, and there are indications that the fact of his betrayal had a profound affect on early Christian tradition. Consider that in the calling of the Twelve (an early/authentic tradition, to be sure), with the associated list of names (Mk 3:13-19 par), specific information is provided for only two of the Twelve disciples—the first (Simon Peter) and the last (Judas). The reference “Yehudah Ish-Qiryah [i.e. Judas Iscariot], the (one) who gave (Jesus) over…” was a familiar formula among early Christians, some version of which is found in the Gospels practically whenever his name is mentioned.

The Passion Narrative

Within the Passion Narrative itself, Judas appears at several key points, each of which is associated with a distinct tradition. I cite the Gospel of Mark as the simplest version among the Synoptics:

  • Mark 14:10-11 (par Matt 26:14-16; Lk 22:3-6): “And Yehudah Ish-Qiryah {Judas Iscariot}, one of the Twelve, went (away) from (there) toward the chief sacred-officials [i.e. chief Priests], (so) that he might give him [i.e. Jesus] along to them. And hearing (this) they were delighted, and gave a message upon (it) to [i.e. announced they would] give him silver.” In Mark/Matthew, this passage functions as an excursus between the first and second episodes. In Luke, it follows the introduction and similarly precedes the Passover meal episode.
  • Mark 14:18-21 (par Matt 26:21-25; Lk 22:21-23; also Jn 13:21-30): The prediction of betrayal, and the identification of the betrayer by Jesus, which includes a declaration of woe (Son of Man saying). This is part of the Passover meal episode, discussed in earlier studies.
  • Mark 14:43-46 (par Matt 26:47-50; Lk 22:47-48; also Jn 18:2-5): Judas comes with a crowd to arrest Jesus; he approaches to kiss Jesus. This is part of the Gethsemane/Garden scene, discussed in parts 1 and 2 of this study. Mention should also be made of the declaration by Jesus which climaxes the previous Prayer scene (Mk 14:41-42 par): “…the hour came [i.e. has come]! See, the Son Man is (being) given along into the hands of sinful (men)…See, the one giving me along has come near!”

The last two traditions are found in all four Gospels, though with certain differences, indicating various ways in which the traditions have been developed. Matthew generally follows Mark closely, but adds certain details, including more direct interaction between Jesus and Judas (26:25, 49-50).

Luke has a different order/arrangement of events in the Last Supper scene (22:17-23), so that the prediction of the betrayal comes after the meal (and the words of institution); otherwise, the author generally follows the Synoptic/Markan account. However, this reordering allows the prediction of the betrayal to lead into teaching by Jesus regarding the nature of true discipleship (vv. 24-30)—that is, in contrast to the “false” discipleship of Judas the betrayer. The nature of this betrayal is brought out by Luke in the “Gethsemane” scene, and the arrest of Jesus, which follows (vv. 39-53), in two ways:

    • As Judas comes near to kiss Jesus, Luke is unique in the record of Jesus’ address to him: “Yehudah, you give along [i.e. betray] the Son of Man with a (mark of) affection [i.e. kiss]?” (v. 48)
    • The concluding declaration— “this is your [pl.] hour and the authority of darkness!” (v. 53)—alludes back to verse 14, as well as v. 3, where it is stated that “(the) Satan came into Yehudah {Judas}…” In the Gospel of John, Judas is similarly associated with darkness and the Devil (see below).
Development of the Tradition in Luke and John

Within the Gospel Tradition, two explanations were given for the betrayal of Jesus by one of his closest disciples: (1) Judas’ greed, and (2) the influence of Satan. Neither of these are found in the core Synoptic tradition represented by Mark’s Gospel, though there is perhaps an allusion to the first in Mark 14:10-11. Luke’s version at this point (22:3-6) may bring out the idea of Judas’ desire for payment, but only slightly (compared with Matthew’s version, cf. below). However, both Luke and John record specifically the diabolical nature of the betrayal, and the influence of Satan over Judas. In Luke, this is indicated by verses 3 and 53, mentioned above. The presentation in the Gospel of John requires a closer look.

John does not include a specific tradition of the calling of the Twelve such as we see in the Synoptics (Mk 3:13-19 par), but there is a similar sort of reference in 6:66-71, where Jesus declares:

“Did I not gather out [i.e. choose] you the Twelve—and (yet) out of you [i.e. among you] one is a devil!” (v. 70, cf. the author’s explanation in v. 71)

Judas appears again in chapters 12-13, especially the Last Supper episode of 13:1-30. Note the role of Judas here, in comparison with the Synoptic tradition:

    • V. 2: “And (with the) dining coming to be, the Devil [lit. one casting (evil) throughout] already had cast (it) into the heart that Yehuda Ish-Qirya (son) of Shim’on should give him along [i.e betray him]”—the Greek is somewhat ambiguous, but it should probably be understood that the Devil cast the idea/impulse into Judas‘ heart, i.e. that he should betray Jesus.
    • V. 10 (Jesus’ words to his disciples at the foot-washing): “…and you are clean—but not all of you!” (and the author’s explanation in v. 11, compare with 6:70-71, above)
    • V. 18 (a similar declaration by Jesus): “I do not say (this) about all of you—I know (the one)s whom I gathered out [i.e. chose]—but (so) that the Writing may be fulfilled…” (a citation of Psalm 41:9 follows).
    • Vv. 21-30—the expanded role of Judas in the scene of the betrayal prediction:
      • Jesus gives special information to the ‘Beloved disciple’ that he will identify the betrayer by giving him a piece of bread dipped in the dish (vv. 25-26a)
      • Jesus gives (shares) the piece of bread with Judas—described by the narrator (v. 26b)
      • At the moment that Judas eats the bread, it is stated that “then the Satan came into that one [i.e. Judas]” (v. 27, compare Lk 22:3)
      • The exchange between Jesus and Judas (vv. 27b-29), followed by Judas’ exit, i.e. his departure from the the room and the circle of Jesus’ (true) disciples (v. 30a)
      • After Judas’ leaves, we have the simple (symbolic) statement by the author: “And it was night” (v. 30b, cf. Lk 22:53)

In addition to the Satanic influence over Judas, the Gospel of John also indicates his greed, expressed through a distinct development of the Anointing tradition (Jn 12:1-8)—the person who objects to the ‘waste’ of expensive perfume (Mk 14:4; Matt 26:8-9) is identified as Judas (v. 4). Moreover, the author goes out of his way to explain that Judas, despite his noble-sounding objection, really did not care for the poor; rather, he simply wanted to preserve the money in the disciples’ common purse, since he was a thief and often would filch from it (according to the best sense of v. 6b). In 13:29 we find again the tradition that Judas held the common purse of money.

The Development of the Tradition in Matthew

The Gospel of Matthew has developed the Synoptic traditions regarding Judas in a distinct way, at two points:

    • Matt 26:14-16—Judas takes the initiative and asks the Priests “What are you willing to give me…?” (v. 15). Also a specific amount of money is indicated (30 silver-pieces). Both details emphasize the motif of Judas’ greed.
    • Matt 27:3-10—The reaction of Judas to Jesus’ arrest, etc, culminating in his suicide. This is a tradition completely unique to Matthew, and it partially undoes the negative portrait of Judas, by showing him to be repentant/remorseful over his actions. At the same time the suicide (hanging) depicts him as coming to a terrible and wicked end. The idea seems to be that his (apparent) repentance cannot completely undo the evil effects of his betrayal. Yet, the Gospel writer is not so much interested in Judas’ psychology, as in his actions as the fulfillment of Scripture (the difficult citation in vv. 9-10).

The tradition of Judas’ death in 27:5-8 is partially confirmed by Acts 1:18-19, though the specific details differ. The manner of Judas’ death in the latter passage, with its more grotesque description, seems to be in line with other early Christian treatments of Judas which tend to depict him in increasingly evil and ugly terms.

The Passion Narrative: Episode 3 (Lk 22:39-46 par; Jn 18:1-11)

Episode 3: The Gethsemane Scene

The Prayer Scene—Mk 14:32-42; Matt 26:36-46; Lk 22:39-46

The Prayer scene in the Garden (or Gethsemane) is one of the most famous and moving portions of the Passion narrative, perhaps because of the powerful dramatic effect of seeing Jesus struggle with human fear and suffering—indicating how far he shared in the human condition (Heb 5:7, etc). The Synoptic Tradition makes this the central scene of the Passion narrative—epitomizing Jesus’ passion, properly speaking. The Markan outline vividly shows Jesus separate from the disciples, taking along with him only three (Peter and the brothers James and John); then he moves further away from them, and prays to God on his own. This movement into prayer takes place by steps:

    • To the disciples: “Sit here until [i.e. while] I speak out toward (God) [i.e. pray]” (v. 32)
      • He moves away, taking Peter, James and John with him (v. 33) He begins to be struck (with sorrow) and full (of distress) in (his) mind
      • To the three: “My soul is in pain (all) around until [i.e. to the point of] death! Remain here and stay aroused [i.e. keep awake, keep watch]” (v. 34)
        • He goes forward a little to pray by himself (v. 35a) He falls upon the ground (overwhelmed by the moment)

The time of prayer (lit. speaking out toward [God]) begins with verse 35b, where Jesus’ prayer is summarized by the narrator in the context of his Passion:

“he spoke out toward (God) [i.e. prayed] that, if it is possible, the hour [hœ¡ra] might go along (away) from him”

This is then repeated in direct address by Jesus, as part of a three-fold cycle (vv. 36-41a), in which Jesus prays for a time, and then returns to the three disciples to find them asleep. Only in the first instance are Jesus’ words—the essence of his prayer—recorded:

“Abba, (my) Father, all things are possible for you [i.e. are in your power]—(please) carry along this cup (away) from me! But (yet let it not be) what I wish, but what you (wish)” (v. 36)

Following this first time of prayer, Jesus’ address to the disciples (to Peter) is also recorded:

“Shim’on, are you sleeping? Did you not have strength to keep aroused [i.e. awake] for one hour? Stay aroused and speak out toward (God) [i.e. pray], that you might not come into (the) testing! The spirit has a forward impulse [i.e. is ready/willing], but the flesh is without strength.” (vv. 37-38)

The Gospel writer provides no further words until Jesus’ third (final) return, when he wakes the disciples and gives the climactic declaration in vv. 41-42. The reference to the “hour” (hœ¡ra) is parallel to that in verse 35b and marks the scene as the beginning of Jesus Passion—which will continue with his arrest, interrogation/trial, mistreatment, and death.

The Gospel of Matthew (26:36-46) follows Mark quite closely here, giving even greater definition to the three-fold cycle of prayer mentioned above. Several details serve to enhance and personalize the scene:

    • “he began to be in pain/sorrow…” [a different verb is used] (v. 37)
    • “remain here and keep aroused [i.e. keep awake/watch] with me” (v. 38)
    • “he fell upon his face” (v. 39)

More notable, Matthew records (the essence of) the first two times of prayer, giving us Jesus’ words:

    • 1st: “My Father, if it is possible, let this cup go along (away) from me! Yet not as I wish (it), but as you (wish it to be)” (v. 39)
    • 2nd: “My Father, if this (cup) is not able to go along (from me) if not (that) [i.e. unless] I drink it, may your will come to be” (v. 42)

This doubling generally fits what Mark describes in 14:39, but creates a more dramatic moment.

Luke’s account (22:39-46) is rather different from the version in Mark/Matthew, though it clearly derives from the same basic tradition. Much depends on the status of verses 43-44, which are textually uncertain (for more on this, see the supplemental note). Commentators are divided on whether or not to include them as part of the original text. I am inclined to regard them as secondary—an ancient interpolation perhaps drawn from authentic (historical) tradition, despite the seemingly legendary quality to the details. If the shorter text is original, then Luke certainly presents a much abridged version of the scene, with two main differences:

    • The three-fold cycle of prayer is replaced with a single time of prayer, followed by Jesus’ return to the disciples.
    • There are two exhortations to pray, which frame the scene (see below)

The references to Jesus’ sorrow and distress have also been eliminated—that is, unless we accept vv. 43-44 as original, in which case Luke’s version contains a different (and even more striking) depiction of Jesus’ physical and emotional anguish. The overall tone and tenor of Luke’s account would seem to argue against this portrait in vv. 43-44. The shorter text has a clear chiastic structure (another argument in its favor):

    • Exhortation to the disciples to pray, so as not to come into testing/temptation (v. 40)
      • Jesus withdraws from them and falls down to his knees on the ground (v. 41)
        ——His prayer to the Father (v. 42)
      • He stands up from prayer and returns to the disciples (v. 45)
    • Exhortation to the disciples to pray, so as not to come into testing/temptation (v. 46)

The Lukan form of Jesus’ prayer differs slightly from those in Mark/Matthew, combining elements of both versions (compare above):

“Father, if you will (it), carry along this cup (away) from me! Yet let your will, not mine, come to be” (v. 42)

This idiom of drinking the cup is a way of expressing the acceptance of one’s destiny, as it has been determined by God. For something of the Old Testament background, see Psalm 11:6; 75:9; Isa 51:17, 22; Jer 25:15; 49:12; Lam 4:21. Sometimes the image carries the sense of accepting one’s death, as in the expression “cup of death” in the Jerusalem II Targum on Gen 40:23 (see Fitzmyer, p. 1442).

John 18:1-11

John’s version of the Garden scene is quite different from the Synoptics, and certainly derives from a separate line of tradition. Yet there are certain elements in common which indicate that both lines rely upon a fundamental set of historical traditions:

    • The general location—a place on the slope of the Mount of Olives, though indicated by different designations. John is unique in describing it as a garden spot across the “winter-flowing Kidron” riverbed (v. 1). There may be an allusion here to 2 Sam 15:23.
    • The arrival of Judas (the betrayal) with a crowd of police/soldiers and attendants of the religious authorities (Chief Priests, etc). The tradition that Judas was familiar with the place (v. 2) may have confirmation from the notice in Lk 22:39.
    • Jesus addresses them (specifically Judas) on their arrival
    • The incident of the disciple who cuts off the ear of the High Priest’s slave with a sword
    • Jesus’ words of rebuke in response (in Matthew & Luke, but not Mark), along with a declaration regarding the necessity of these things (i.e. his arrest) coming to pass
    • Jesus is taken into custody by the crowd

The outline of John’s account is quite simple:

    • Narrative introduction (vv. 1-2)
    • The arrival of Judas with the crowd—their encounter with Jesus (vv. 3-9)
    • Peter’s violent action and Jesus’ response (vv. 10-11)

The central scene is very much unique to John, both in the way Judas is presented, and, even more so, by the depiction of the crowd’s encounter with Jesus (vv. 4-8). The detail in vv. 2-3 reminds the reader of Judas’ former inclusion as one of Jesus’ Twelve closest disciples, and of the betrayal as he arrives with a crowd of attendants (acting as police) from the Chief Priests, along with (Roman) soldiers (a detail found only in John). After verse 5, Judas essentially disappears from the scene; there is nothing corresponding to Mk 14:44-45 par. His role (as betrayer) was to set Jesus’ Passion and death in motion.

By contrast, the encounter in vv. 4-8 between Jesus and the crowd is striking, with nothing like it in the Synoptics (cp. Mk 14:48-49, for the nearest parallel). Jesus has a commanding presence, and speaks with such authority, so as to cause the crowd to shrink back and fall to the ground. His double declaration of egœ¡ eimi (“I am [he]”, vv. 6, 8) is certainly to be related to the earlier I AM statements of Jesus in John, and intended here as a declaration of his identity as the eternal Son of God. As such it carries definite Christological weight, and is a far cry from the portrait of Jesus in the Synoptic version of the Garden episode. In this same spirit is the emphasis on Jesus’ control over the disciples—those given to him by God the Father and left in his care (vv. 8-9). His authority protects them from harm in the moment of his arrest.

It is significant that John’s version contains nothing of the Synoptic depiction of Jesus’ distress and anguish; indeed, there is nothing at all corresponding to the Prayer scene (cf. above), except perhaps for the wording of the concluding declaration in v. 11. A closer parallel may be found at an earlier point in the narrative, in 12:27ff:

“Now my soul has been disturbed, and what may I say? ‘Father, save me out of this hour?’ But through this [i.e. for this reason] I came into this hour.” (v. 27)

The Johannine presentation of the disciple’s rash and violent act with the sword is meant to serve as a decided contrast to the calm authority and control with which Jesus acts. John provides several interesting (and unique) details:

    • The disciple, otherwise unidentified in the Synoptics, is Peter
    • The name of the slave—Malchus
    • Agreement with Luke in specifying the right ear

The latter is a natural development of the tradition; the second would appear (on objective grounds) to be authentic historical information. Only the identification of the disciple with Peter is problematic—how and/or why would the other Gospels have left out this key bit of information if it were part of the original tradition? However one judges the historical-critical question, the identification with Peter is important within the Johannine narrative, as it serves as a parallel to Peter’s role (his denial) in the next episode. His rash act with the sword is, in some ways, an extension of his failure in the denial scene. Often in the Gospel tradition, Peter effectively represents all the disciples, and so perhaps we should understand it here.

Even more significant is Jesus’ response to Peter’s act (v. 11). Matthew and Luke also record (very different) responses; John’s version is closest to the declaration by Jesus in Matthew (26:52-54), at least in its initial words:

“Turn your sword away back into its place!…” (Matthew)
“Cast (your) sword (back) into the sheath!…” (John)

In place of the Synoptic reference to the fulfillment of Scripture (Matt 26:54 par), in John’s version, Jesus’ words echo the Synoptic prayer scene:

“…the cup which the Father has given me (to drink), (indeed) shall I not drink it?” (v. 11b)

John’s account also differs slightly in that he separates the actual arrest of Jesus (v. 12) from the main Garden scene, making it part of the next episode—the interrogation of Jesus before the Jewish Council (Sanhedrin)—which will be discussed in part 3 of this study.

References above marked “Fitzmyer” are to J. A. Fitzmyer, The Gospel According to Luke, Anchor Bible [AB] Vol. 28, 28A (1985).