I pulled out again my copy of “Mimesis and Intertextuality in Antiquity and Christianity” (ed. by Dennis R. MacDonald) thinking to write a layman’s review of its collection of contributions but got sidetracked (again) on re-reading Gregory J. Riley’s chapter, “Mimesis of Classical Ideals in the Second Century”. Some of Riley’s work totally rivets me with comments that provoke new thoughts; some of it leaves me totally flat. This chapter is one of the former. I will have to do a fuller discussion of this asap.
Till asap comes along, I am currently rethinking possibly the earliest surviving literary episode in the life of Jesus, his baptism as told in the Gospel of Mark. John the Baptist there is portrayed as someone of utmost “greatness”: he functions way out in the wilderness, yet despite that “all the land of Judea” went out to see him and submit to him in baptism. Now that is a graphic scene. It is no doubt fictional, or some might wish to say it contains a core of historical truth in that the exaggeration hints at least “lots” of people went out to the wilderness to be baptized. But Mark is telling the story and he creates a picture of the “whole land of Judea” coming out to John in the wilderness, to a man standing outside and in opposition to the city life (“and those from Jerusalem”) with his camel cloak and wild honey diet.
But his message escalates this scene of a truly remarkable man.– His message is about one “who is even greater” who is yet to follow after him! He underscores the point: he, such a great man, will not even be worthy to stoop to loose the sandal of the super-great one to come.
And that even greater one is, of course, the one we know will be from the beginning, from heaven itself even, declared the beloved Son of God himself.
What does all this have to do with a Greek-Roman classical ideal?
Riley writes, “a righteous and powerful Son of God is persecuted by unjust authorities, divine and human, faces his own horrible death with courage, and overcomes. This is not an Israelite story, but it is the oldest and most inspiring plot-line in Greco-Roman literature.” (p.95)
Dare we see the opening scene in Mark as yet another one of “the oldest and most inspiring plot-lines in Greco-Roman literature”? The opening scene of the Iliad was about a son of a goddess (a man-god), Achilles, whose refusal to submit, despite repeated pleas, to the greatest king, Agamemnon, one greater in authority despite Achilles being the far greater in parentage and ultimate personal worth and nobility of (Greek classical) character.
If so, then surely the “criteria of embarrassment” arguments in the literature that attach themselves to the baptism of Jesus beg for re-evaluation at least. Mark demonstrates NO such embarrassment at all. In fact he pushes as hard as he can into the readers/hearers’ faces that the Greater is submitting to the Lesser here!
There is so much to elaborate on here. I know, I have tossed out idle spec on this scene elsewhere, but I would love to do up a much fuller exploration of this and the other ideals expressed in the Christian myth that clearly repackaged and presented anew some of the highest ideals of classical antiquity. (As Burton Mack and others have written, it also included in that package much that was ruinous, too.) But I’m keen to follow through Riley’s argument in this and other aspects of the founding myth of Christianity.
(P.S. It seems almost flippant to comment (i know, again) here that that opening book in the Iliad, iirc, concludes with Agamemnon ordering the ritual washing of all his armed followers — the only one who removes himself from the camp and does not comply is, of course, Achilles.)
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