Shouts and silences are prominent sound images throughout both the non-canonical and canonical gospels and apocalypses. Sometimes the authors seem to be deliberately pairing them to emphasize their associated contrasting occasions. The most memorable instances of this in the canonical gospels are the silences of Jesus before his accusers and tormenters and the loud shout/s he utters on the cross. In Matthew is a well-known passage drawing on Isaiah to suggest a similar contrast:
He shall not strive, nor cry; neither shall any man hear his voice in the streets. A bruised reed shall he not break, and smoking flax shall he not quench, till he send forth judgment unto victory. (Matthew 12:19-20)
This lends itself to neat bit of eisegesis that Jesus’ shout from the cross was a cry of judgment and/or victory.
Probably the most obvious noncanonical text with this particular paradox to come to mind is “The Thunder, Perfect Mind” where the Saviour proclaims he/she is both silence and manifold voice and one who cries out (thunder?). I can’t help but wonder so many of the narrative paradoxes we find in the Gospel of Mark also being found epigrams in some gnostic-type literature such as The Thunder, Perfect Mind.
A common exercise is to treat the gospels as divinely inspired ciphers that require a reader to find matching patterns between their different texts, and by means of these jig-saw matches mentally constructing an entirely new story not found in any of the texts. This is sometimes called “letting the bible interpret the bible”, or even, “not interpreting the bible, but letting the bible speak for itself”. It is also called “reading the bible with the guidance of the spirit of God.”
One example of this approach is to take two passages from Mark and Luke using them to create a third unlike any found in either Mark or Luke.
Death’s Loud Voice: Mark
And Jesus cried [aphiemi: uttered/let go/departed (“went out”)] with a loud voice [phone-megas] and gave up the ghost. (Mark 15:37)