Literary allusions and influences are generally not about one-to-one correspondences of plot or character details. Authors are for most part motivated to write something new, something that interests them and their audiences, and that means drawing upon familiar written and oral words and weaving them into new creations. Perhaps a good comparison could be drawn from those music programs that trace the history of certain genres of music through the decades. One soon learns that even “the new and different” is really a re-mix of the old from here, there and somewhere else that has been repackaged and presented in a very new way.
Nor does the fact of literary allusion of itself suggest that the topic being written about is fiction. One is quite entitled to write a history of a modern event and draw on allusions from Shakespeare or Homer in the process. Where the line is crossed is where the entire narrative can be most simply explained in terms of literary allusions and ideological interests. Whether that line is crossed is the case with Paul before the Areopagus I do not know. I have not taken the time to give it proper consideration. But surely Lynn Kauppi’s discussion is one part of the discussion that cannot be ignored. (Nor am I suggesting that Kauppi himself rejects the historicity of Acts 17. I have no idea if he does or not and his thesis I am addressing here does not allow me to know his thoughts on the question of historicity.) And in the process of preparing these posts I have had opportunities to catch up with what others have had to say about this Areopagus episode — e.g. Talbert, Kirsopp Lake, Haenchen — and have uncovered a range of ideas that are too broad to include in these posts here. The question of historicity is another one I may take up in another post when I have time to collate the contributions of these and Lynn Kauppi among others.
But in the meantime let’s continue with what I intended to be just one quick post but that has turned itself into some sort of mini-series now. I am discussing the thesis of Lynn Kauppi that the author of Acts 17 (let’s call him Luke) was writing with conscious allusions to (among other literary sources to be discussed another time perhaps) the fifth century BCE play Eumenides by Aeschylus. This post follows on from the previous two posts. Continue reading “Acts, the Areopagus and the Introduction of New Gods”
Some years ago I somehow stumbled into an email exchange with a doctoral student on the other side of the world who kindly let me preview a chapter of the thesis he had been working on. Since I recently noticed his thesis has since 2006 been commercially published as Foreign but Familiar Gods: Graeco-Romans Read Religion in Acts I feel free to share the contents of that chapter now.
Lynn Kauppi argues that the scene in Acts where Paul is brought before the Areopagus to explain himself partly on the impression that he is introducing new gods to Athens was inspired by a scene in a play well-known to Greek speakers of the day.
The play is Eumenides, the third in a trilogy of plays composed by Aeschylus around the 450’s bce. The name Eumenides refers to devotees of the Furies (Erinyes). These Furies pursued and tormented one who had murdered his own mother.
In the first play of the series King Agamemnon returned home victorious from the Trojan war but was murdered by his wife, Clytemnestra. In the second play their son Orestes was moved by his sister and the god Apollo to avenge his father’s death by killing his mother.
The third play, the one said to contain the influences on the author of Acts, contains the resolution of the moral conflicts built up in the first two plays. On Apollo’s advice Orestes flees to Athens seeking escape from the torment of the Furies. Meanwhile the ghost of Clytemnestra rises up from the dead to rebuke the Furies for not completing their just vengeance on her son.
In Athens Orestes is met by the goddess Athena who listens to his case and also hears the counter-claims of the Furies. Unable to determine the rights and wrongs of the matter alone she founds the court of the Areopagus to help her decide the case. Orestes appears at this court, the Areopagus, along with his prosecutors, the Furies, and his defender, the god Apollo. The court is divided so the goddess Athena casts the deciding vote in favour of Orestes, thus cleansing him from the stain or pollution of blood-guilt and setting a precedent for mercy over justice. When the Furies threaten to destroy Athens in retaliation a shrine is established for them and a procession is held in their honour by the Athenians.
The outline of the play does not encourage the modern reader to suspect it may contain an influence on the author of Acts.
But Kauppi argues that the play was well-known in the early Christian era and did influence other writings of the time; and that a Graeco-Roman reader of Acts would likely recognize allusions in the play to “the resurrection” from the dead, the role of the Areopagus in examining the central character and the theme of the introduction of new gods into Athens. Continue reading “Paul’s sermon on the Areopagus inspired by the Muses”