8, 10, 12), which plays a relatively minor role elsewhere in the Gospel (cf. 1:1–13 is set apart from the following verses by its location in the desert and by its references to the Spirit (vv. Matera’s (1988, 5) reasons for preferring v. 13 for the prologue’s end are persuasive:ġ. Today commentators remain divided as to whether the prologue ends at v. 13 or v. 15 (for ending at v. 13, e.g., see Hooker 1997, 1–22 Moloney 2002, 27–30 Donahue and Harrington 2002, 59–69 for ending at v. 15, e.g., see Mann 1986, 193–94 Harrington 1990, 598–99 Boring 1991). are a climactic statement that fulfills the word of John about Jesus, while at the same time it rounds out the over-arching interest in εὐαγγέλιον” (Keck 1965–66, 361). 1 and 15 forms an inclusio (the use of the same or similar words at the beginning and the end of a sense unit): “vv. 14f. In 1965–66, Leander E. Keck argued that the prologue should also include vv. 14–15 since the use of the term euangelion (“gospel”) in vv. 9–13 supply the vital background information that Jesus is from Nazareth in Galilee and that he is the unique Son of God. Lightfoot (1950, 15–20) influentially argued that the prologue was comprised of Mark 1:1–13 since vv. Matera (1988, 4) notes that at the beginning of the twentieth century, it was common to assume that the prologue ended at 1:8 since John the Baptist’s preaching was the prelude to Jesus’s ministry (e.g., the Westcott-Hort text of the Greek NT placed v. 8 at the end of the first paragraph). Scholarly opinion is divided as to the extent of Mark’s prologue. The terse narration, with its hurried pace and intriguing details, gives the prologue a vibrant and dramatic quality. The evangelist’s notice that the country of Judea and all the Jerusalemites” (v. 5) went out to John is a typical Markan exaggeration that lends the narrative a sense of vividness and excitement. The passage is packed with the kinds of Markan “traits of vivid detail” noted by Westcott (1860, 366), such as the description of John’s attire and diet (v. 5), the prophet’s assertion that he is unfit to loosen the straps of Jesus’s sandals (v. 7), the description of Jesus’s vision of the heavens being torn apart and the Spirit descending “like a dove” (v. 10). 10, 12-a word that appears forty-two times in the Gospel). The prologue shows many characteristics of Mark’s style: kai parataxis, or the sequential linking of sentences and clauses with the conjunction “and” this word appears fourteen times in 1:4–13) the use of the adverb euthys (“immediately” vv.
Up to this point in the narrative, Jesus does not speak-he is only spoken about. Mark recounts how Jesus was baptized and experienced a heavenly vision, then was driven by the Spirit into the desert, tested by Satan for forty days, and sustained by angels.
The omniscient narrator cites a prophetic witness to the events that are about to be related, summarizes the career of John the Baptist, and introduces Jesus as the “man more powerful” than the prophet. Mark 1:1–13 functions like the prologoi of many ancient plays and other literary works by informing the reader/audience of the events leading up to the ministry of Jesus. The Gospel of John’s famous prologue (John 1:1–18) describes Jesus as the preexistent Word of God testified to by the Jewish scriptures and by John the Baptist (see Perkins 1990, 951–52). The deuterocanonical book of Sirach, for instance, contains a prologue written by the grandson of the sage after whom the book is named, explaining the history of the text before its translation into Greek in Egypt. According to Aristotle’s other cultural forms, including speeches and musical compositions, should begin with introductions or preludes corresponding to the dramatic prologue 3.14).īiblical authors other than Mark make use of prologues. After this, Hecuba and the chorus of Trojan women enter, and the narrative proper begins. BC), the phantom of Polydorus, the son of Priam of Troy, recaps the events of the Trojan War that led to the captivity of his mother, Hecuba, and the other women of the city. For example, in Euripides’s Hecuba (fifth cent.
In Greek literature, a prologos is the part of a play before the entry of the chorus, often in the form of a monologue narrating facts that introduce the main action (see, e.g., Aristotle, Poet. Mark 1:1–13 is often described as Mark’s prologue.
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