Novum Tevtmentun XXII, 2 (1963), SUMMONS AND OUTLINE IN MARK: THE THREE-STEP PROGRESSION VERNON K, ROBBINS Univertyof Ils at UbansChampign One of the most wellknown features of Mark fs the three-fold repetition of the prediction of the passion by Jess in Mark vill 3; in 315 x 35-34. By means of this repetition, Marke vil 27-x 45, ‘contains unified structure that gives the ection a central postion in the theology of Mark. Recent analysis has shown a more subile three-part progression in thie wction of Mark), Each one of the passion predictions itself stands within a unit characterized by Uhre parts (il 27-30, 31-33, 34-383; fx 30-92, 33-34 35901 x 32° “4 35-48 4245). This paper contains the proposal thatthe hres step progression evident in the context of each of the passion protons is also present in scenes throughout the Gespel where Jesus calls disciples. These scenes are constitted by a three-step ‘thetorical sequence that features Jesus summoning disciples as the Final step, Funys Netuynen’s study of repetitive phrases in Mark i highly responsible for our ability to sec and understand the three-step progression that stands within the Marean narrative. His sty of Mark wt only Hits dual expressions but alo twenty-three "series of three that characterize the Marcan narrative}, At the most primary level of eompzsition, thee people, things, of phrases occur ina series in which the author canneets the second and third Items to the first by means ofthe simple conjunetion wa, At second level, the series of thre structures the dramatic progression of an entire 4) For analyse of the struct of sii a7 4s age Noswan Poa “toward an Tntespetation of the Gonpel of stae™ Ctgy and -Moturn Ping (oH, Dupes ee: Claremont Calas 103) Tool The New Tesanent! dn Parodies (how Yorks Hasso Bes Foranonea tra) 5598 ") Fnane Nissin Duality im Mark Contdbton 0 the Stay of the ‘Malan Hadnion (UETI NXXL1 Laurens Coven Univoty Pre 09)8 VERNON x, ROBBINS ‘episode, Analysis in this papur is designed to reveal a three-step within span of material two or thee pesicopes in Fength. Within this span of material, Jesus is portrayed by means of fa thice-step progression that reaches its conclusion in an explicit Simmons of people into dizeplship. The model units for the throe- Step sunning progression exit fn sll 27 x; 1x 30-50; x 32-45 fd tho ley tothe unt i the explicit summoning of disciples in the Sina pact. "Alter an analysis of the thoo-sep progression in Mark at the level ofthe the simple items, the level ofthe single episode, and ‘te level af fo or three peienpes; we wil suggest thatthe three step progressions that cover two or Uree pericopas form intecides in the natrative that establish the basie outline for the Marcan narrative. These interludes are characterized. by a rhetorical progresion that draws the previous action of the narative to a ‘onetasion in the same context in which it inaugurates the action that will transpire ia the suecooding section, Moreover, we will suggest that these Interludes establish an image of Jesus that matintes between Iaraclite traditions about Yahweh and the prophets and Graeco-Roman traditions abuut disciple gathering eachers, In the Gospel of Mark, theretore, the three-step sur ‘moning interlude featores Jesus in a role that merges the authority fof Yall and the prophets ith the authority of ethical teachers ‘who embody the system of thought al action they teach to ater. “Tae Sister Sonues oF uuu nD Tus Tunua-Paner StaverUKN [At the most primary level of composition, the author of Mark roveals an interest in series of ress. In sixteen instances, three people, three things, oF thee phrases oecur in @ svi in which the futhor connects the second abd third items to the frst by means fof the simple conjunction nal (1) ih g2t hogy 1 tol Benga oo el a hal x) ®) 2) 35: Berg wav val eng na whee *) nt a stg om pret AD net bt aot fom HB CK ASRS me i at id te Commantary om the Grech Noe Testament (New Yorks Unite ible See, ‘see ‘TUREE-STHP PnoGHESSION 1 ARK 9 (4) iv 8, 20: ah spuxowre nad by Ufc wal by bers 6) (56,2) yay basa 3: Myr elf) "a a) ly (8) vig: Bo weg ao nal 0g over ae al by sh oly aos (0) vi at: wot pspordow abeed wal cots yoidoyoe nad ste ‘ert Paha (10) B32 pee ene, ook play ak Masaet la a "gla (0x) xvi 1 {f] Mapa MeyBetayh veal Map § (205) "eeBov ual Dada, (02) ii 3x: bed i mpuofedpuy va sv deep vad iv vesiamstan (33) 27 ol weet rates nll ecpir (4 (5) Hiv 53: tes of agape na of mpeoBlnepn aa o Yon vate (00) ev Tl dppepet werd xiv npepvlpen wal yeep wa an ob antigo ‘The final example of the primary form of the series of thre, xv ‘eveals the potential forthe third part inthe series to be climactic. Im contrast to the constrctins in wii 3, 327, xt 43, and xiv 535, ‘the construction in xv 1 eollapses “chief priests and elders” into ‘one group so the sores can end with “the whole saniedrin,” “Another form of the three-part serie in Mark establishes con- ‘rats Botweon the parts, fv this form, both 3€ and wal are sed to ‘construct the series, Two examples of this stand ont atthe primary level of the form. The most simple example ie present in vit a8! of BE tnny aba Aor Se "Tedway al Banter, veal B04", Bion Be be Ov page [In Mark vi 14-16, this three-part progression ie used in a narrative ‘context that ells for expansion of the fst part. A earefol examina 4) Tolty tis rad abou te rod 1 coe wa Ep al Be ty Wappen D165 as4o Lae Hoowehano a yy ‘ye cpm gots Datemarn® te Motep Feta Commentary 8,sion of Mark vi 14-16 shows how the author can use principles of ‘two-part and three-part composition within the same context Kal Yrovser & faadate HeSne. (gore Eyer ob Grn mbt), veal Edeyev Bet") “ods Beret yhegnos Be exon sal astro veg a Bundy 8 abe agen Be Baayen Bel to Bijou Be Beyer Bre soups Ss ex ngO. dxoboas 82 8 Hegde Bajar by Er dnexpiion Teter, nog fle “a day a pt itn of ro a hea ela na ass net splint pe Tee roto Fray ee a Gyn ct hai Athenee) se he marae ne we Metta eb Eels ad ic ee es Ses Sona ee ge) Tose SAN ish tl pe sapien to ent sae ey eine Pon oo Sipe aaa Cea ree ecb ance oe ont see toate tennis aeelmae sateen “PRS Dans ted oe te Ron ici ha a ea 1am yet este ieee Rr enn on seo Sm cub ae Sema a gee hus eee regen Cras iene 9 ies i ur i co 1h Wee atacur i Seth Basle sigs Ld yal (0) Reeve la en madre sel Babe = Eupabaoe ae Dye 488 jpviaae Ha... (xiv 6.68) (2) wal eating Wain abby obo nddew Nye, 4 Bb nds Hpvetce (xiv 69-700) (9) sal... ndw.-, Beyow GB fpkace dvabewaciters wal buvovas «(xiv 69-72) (cee ig de ales abe byte ple ps dp) 3) [In this series, which spans seven verses of text, some of the char- acteristics appear that reveal the nature of lager Iiterary unite ‘constructed in three parts in the Marcan narrative, First the series hogins with a. verb of movement in the narrational framework lEexerm); second, the series emphasizes interaction that occurs by meant of seeing someone and speaking to him (Butea... 2uB6}ao ep iby; Wate addy fpgare edo Dba. Dan {hid the verbal interaction in the sequence comes to a climactic Sigh in emphatic speech, In the third item, therefore, the repetition ‘of “denied gives way to “began to invoke a curse on himself and to swear.” This enquence reveals the authors intrest inthe third part of an expanded form of the series of three. While special ‘emphasis on the third item seems not to be characteristic of the series at tho primary level (a tied item is sufficent to bring a Sense of completeness), the third item in the expanded form b customarily characterized by emphatic speech. In this instance, Peters statements of denial reach « point of pronouncing a curse "upon himself and swearing that he has no knowledge whatsoever of Sess (xiv 72)". ‘When the expanded form of «three-part literary unit features Jesus as the main actor (father than Peter atin xiv 66-72), the Final part of the sequence features summons anil command on the “Sou Mats gos Nae, Danity 1, [xia ota’ disuton of tin try of Pater’ doll, ee Kon 4 Ze si ee. WH (Cites Gera Noha, ton) g'g, Deas Dowseree bie Poston SJemnir Verhatomotl (Sthe t0s Manner Aston 974 #3015),lips of Jesus. Am excellent example is present in Mark xv 35-42, the prajer in Gethsemane: (2) vd pon a poze «= al YEH oo vad Eoyeat al eSptonee dal yen» (aiv 35-8) (2) val ede dich pia be = dnl nddey EnOdby ebpes = (RV 39-40) (3) val Epgeras xd cptcon wad nbyes abeots, "Are you sil sleeping and taking your rest? Tes enough; the hour has come ‘the Son of man is betrayed into the hands of sinners; se, Jet. us be ging ‘See, my betrayer is at hand.” ‘This example illustrates the manner ip which the author's narra~ tional framework staises a pattern inthe expanded fori ofthe three-part iterary wnit, The basic actions of Jesus unfo in three steps, ant the final step introduces the dramatic conclusion to [Jesu action in the form of emphatic speech that summons apd ‘command, The theme of summons and eommand may oF may not Tre present inthe fist or second parts ofthe soqenes, but the final ‘vt featutrs Jous as one who speaks with authority to those whi ‘eck a seious telationsip with him “Tunnr-Pase Proossow in Man vil 27-3 45, “The repetition of the sufferingalyingrising sayings in Mask it 31s ix 31; 33-24 reveals thro fld composition al to Teves fn lhe Mercan narrative. On the one hand, the material from Mark vil 27 to x 4§ i constructed in an overall pattern of three. The thee passion preditions establish slamewerk fora lengthy amount ‘of material and provide a dramatic progression to the third saying in the series, The progression eeaches is highpoint inthe legthiest land most dannatie form ofthe saying in x 33-34 “alt we ave ging upto Jeo, pd the Son of man wil eevee coe a toe ser tc hy wl sno iw th ‘Sates fc te Gente: at ey ioe hd ion {Uhl scourge Be and ot he nel te te ays hs wi “TUREE-STEP PROGRESSION I HARK 103 [While the first two passion predictions eoptain 25 and x7 Greek swords respectively, the final one in x 33-34 contains 40 Greck words as it brings Jesus’ description of the passion events (o its most ‘emphatic and fll expresion, ‘At yet another level, however, the passion predictions reveal technique of literary composition that extends throughout the Gospel. Fach ofthe sayings resides ina three-part literary unit that ache its climax ina statement that Jesas summoned (npemiaid tan), called (eadEu or gana), or sent (Bmoarba) his dcptes, The fiat unit, vil 27-x 1, reveals the three-part progression in this (2) Ket 865 bey 6 "qos na of pagrat advo va. beg sebc way eo der aboot val able tiple asolg val Emenee abate.» (il 27-30) (2) Kal fpEare Setdonees alzobs sel pret so Myon da 3.98 Emerpepes va Div ole waite abr Brecugoey Nese daddys. (il 30-33) 13) Kot npoonareadqerac shy ov abv cots ueOarate abead er abot aad Dera... (vii 34-2) ‘The spaced portions ofthe narrational framework indicate a three: ‘art progression tat reaches climax in the statement that Jesus mramnned (eomssddouz) the multitude with his disciples, Tho fst, [prt of the sequence bepins witha statement that Jesus was going from one place to another, and it explicitly mentions the presence Df the disciples with Jesus. The scond part features 2 shite that ‘eva Reaction Sve, 1g) Howat Cub, Commo te New ‘he Piladepin: Westnet to) $93 Syria ai 7 nea ia ee as ") Mark chy itor age vl apie x qos 18; a106 VeRNox ROBBING tnd activities that divect the narative program in the next section fof the Gospel. These interides function, therefore, as formal tional scenes that dive the narrative onthe base of soquen~ stages of interaction between Josus and his disciples. “Te first stage of interaction begins wit ge tres part interude fn Mark i 14-20, Tn this interiade between the temptation of Jesus inthe wilderness (| x2-13) ad bis frst appearance in a synagogue {i aas), Jour command to all people to erpent and Isieve on ‘the bass of the imminence of the Kingdom of Go reaches its climax in the ealing of ove men into a teacher disciple relationship Jn the final part of the intelade, the reader for the fist time ‘eneonters the term wade (teal) the author narrates the calling fof James and John: (2) Bh. FaBer b Ineo al deqey os 6 14-15) (2) Ket mapdyan -. e009 ee ‘al aig dpkvre. erdoyean aod 16-8) (9) Kat npc. ther. val Bie Buddevey ab rose, al Agree diy bnlw abd (119-20) Not only i this inter the Ses context in which a summons to Ascipleship secs, ti the frst setting inthe narrative in which “Jesns is attiihuted with direct speech. By means of this speech, Jans annonners the Kinglo of Gad, Senegal vam to LI people to repent and blow im the gospel ten calls individual te follow hin. This three-part sequence antradvers the ential Alynamnie that aceompanies Jos fugoat Mark and establises the major sections in the marative, The ewentiat dynamic enneere ‘the movement of Josie to varions places to teach an show people ‘the meaning ofthe Kingdom of God in word and deed. This activity creates interaction with individvale whom Jesus summons into flips. When lndividnals are stmmoned into. disciphesbi they have specific responsi which they are asked to perform and to understand. Ate tis intesude in which the first four dsc pies are elled, therefore, threeart Hterary units systematically ‘vent to inaugurate new stages of Snteraction between Jesus and tis disciples, ‘nae ster PRocREssION 1: HARK or ‘The second three-part literary unit of this nature occurs in 17-19. This unit contains the first occurence of rpomundogas in ‘the linear progression ofthe narrative, The construction of the unit fs as fellows: (2) Ket 6"yonte pe cv pays abros dvedpnaey sal and 056 Phat] ) sg nnd Hiller pe aed (Hl 7-8) (2) sal eticey vote pedyrate aves (rentals yp pdm) vals. eviae wae. fil 9-2) (9) Kal debates al pooneheF ee. ad dior ple ada, vel Erato Bidows ak Ene op sal Entec aca (i 13-29) In analogy with the three-part Iiterary units in wii 2.x 45, tie unit begins with reference to the travel of Jesus, and the presence ofthe disciples with Jesus is explicitly mentioned. The second part features Jesus directing the ation of his disciples in a context that creates the stage for the third part én whieh he summons tvelve disciple forthe purpose of preparing them to perfor the preaching and healing activities characterise of his mode of action ‘The third three-part unit with these features occurs in vi 1-13. The structure of the unit follows: (1) Kat 2850ey deo xl pena ak damnit and of uaOycat atrot. veal alae BBneee (61-3) (2) Ke Breyey abvote 6 lyme ak ob tive bet note obey Svar al Batu chy Staley ary (¥4) (9) Kat nese she dae nop Bonen sal xpoxanetras role Sabon val place abrabe dnaastaQety Bo Sie, ial Bho ane eevee al napreder atrokc al eyes arate vad oles (V1 7-13) 1 or the stats of juethoey fa the tax. soc Fanon. Kc, “alee 3i78 and Mask Ch Be (Oks) Seco ace es an aCe 4S108 ‘VERNON i. ROBBINS In this interlude again, the disciples are explicily mentioned as ‘resent with Jesua when he goes out (2zpyeye) from the gion in ‘which he has ben active, even though the disciples play no rle in the first and cond parts of the tere. Jess’ rejection in the first part, however, creates the setting for, his dirt response to the ero inthe second past and his spacial Summons tothe Twelve inthe third part. On the basis of hi ejection and his response to that rejection in the first and second parts, fous fammons the ‘Twelve with explicit instrvctions concetning thei presehing and healing activitics, ending with explicit instructions for them to follow when they encounter rejectin (vi 22. ‘The fourth interlude containing a three-part rhetorical progres sion that reaches its climax in Joa’ summoning of his disciples ‘occurs in Mark vil 27-8 r, which has already been dscussod above in the section on wil 27-x 45. Again the disciples are explicily ‘mentioned in the narrational framework that refers to Jess coming font (dpyouas) of one place into another (vil 27). Alo, after an Intermotiary scene of special interaction (vii 32-3) the final part features Josue immoning (mpmndoyae) his dseples, and in this instance tleo the crowd, to teach them the ccntral principe of Aliscipeship, i, that he who wishes to save hie ile mast aeoapt a {orm ofdseiplesip in which he is wiling to lose his fe (vi 34-37. ‘This interade inangrates the nareative program that continues throngs x 4g. ‘The toning intro it vit 27-921 reaches its climax i the third pasion priction, interaction, and simmons in 324s. ‘Three-part interludes ending with a summons to the disciples secur systenatiealy Hn he tative from fr4ox 45. The requeney Sf the units inereases once the ist passion proietion aecurs since te narative program that follows the first prediction features Jesus continoally engaging his disciples in conversation about Uicipeship in the midst of teaching that reiterates the assertion ‘athe will he killed in Jerusalem. Once the stage of the intensive teaching about soffering, rejection, death, and resurrection ends (643), the occurrenen of three-part interludes ending with &sum- ‘mons to the disciples else obvious. TE does appear, howover, that two interes after x45 have been influenced by the three-part compositional schema that is evident in the material Irom i 14 thigh x 45. The First intriude that Appears to be influenced by the schema occurs in x 46-xi 11 and "TnEG-STEP PROGRESSION 1 MARK 109 fac its climax inthe entry of Jesus into the Jerusalem Temple The unity of x 0-xi 11 has often been overload because of the chapter division that was imposed betwon the healing of blind artmaeus and the sending ofthe two disciples to bring the colt"). ‘There is actually no narrative break between x 4652 and Mi 1-11, ‘When Bartimaeus receives his sight and begins to follow on the tail (x 52), Jesus continues om the way until he sends two of his liseiples to get the eat om which he rides into Jerusalem fai 1-3), The interlude proceds much like vi 1-13 which ends with Jesus’ ‘sending of the Twalve out to perform specific tasks he asks of them. 1m the third part of x 46x rr Jesus commissions the dieples to participate directly inthe process by which both he and they enter JJevwsalem. The three-part structure of the interlude is as follows: (1) Kel tore. al Bemapevenes « ttre a ido bes Endy at ders. ee age wa nye. sal brs a ‘ we 6 aw ion ate 6448 (2) Katerde 'Tnoote elven. sl snot np Tene lat SSG Iya elo deb.) (0) sa ee ina os droseehhe Bb 18 pOyras ae Shiai rl cis Tg eed. val By wabyeoy ) Again the naerational comment in the fist part of the interlde (0 46-48) explicitly refers to the disciples’ presence with Jesus as he ‘comes out (GxrgpeZaua) of one location to another place (& 40). In parallel with it 78, the fst part of the interlude features the attempt to get to Jesus forthe purpose of receiving healing fom “ors fie on tet Diochat oo} ayaany, Fanon Hacc, Der Evga de Sees InP acti tt aaa, Heep cnatttane Rah are RE kar ei ln ‘in the biarenn Theology.” JIL 92 (8073) 224-243. onehim, While the central mattil init 7-8 fe bracketed by xan ag... re rnd, the material in x 45-48 is bracketed by the ry, "We Bai (Tye), yoy ge” Asin ik 7-8 the presence of the great multitude ereates the setting fr the third past in whieh {Jous summons "those whem he himsef-yanted” out of the large ‘number of peop who are following him, son x 46-48 the presence (ofthe people who hear Bartimaeus cry out to Jesus asthe Son of ‘David sets the stage for the third par in which they themselves ‘ery out to Jesus, "Blessed be the coming kingdom of our father ‘David In'the stcond part ofthe interlude, Jesus tells the crowd te call (ganda) Bartimaeus, and they call hin using language that fs characteristic only of Jeaus in the previo narrative "). Since this call reslts in Bartimaeus” following along with the disciples And the erowil in the second part of the interlude, the narratonal Comment at the beginning of the thied part omits a special summons inthe context of the sending of two depts to procure the cot for the entrance. As Jesus sonds out two dssples (ct. vi 7), the stage isset for emphati speech by Jesus that inaugurates the program of tetion that transpires in the Next section of the Gospel “The second intrude beyond x 45 that appears to be influenced by the three-part schema isthe famons"Marcan Apocalypse," xi 137 ‘This chapter contains prophetic and apocalyptic material that fumetions asa farewell dlacoutse in a setting similar to the Gracco Roma temple dislogue ")- As. Pescut has shown, xi 1-37 isan nterade that forms a transition Detween Josus’ teaching in the Teanpl (xi 12-44) and the arrest, tral, death, and resurrection of Jeous (xiv v1 8) "), The fnteriade sows evidence of threspart Compton at various levels, Firstly, Ue overall scene isintrouced by two parts (xl 1-2, 3-4) ) that Jead into a thied part featuring ilvet statements by Jes (xi $37). This framework suggests the influence of the thteespart schema present throughout the nar~ rative. Secondly, the statements by Jesus fall into three basic “rotions of material: the birth pangs ofthe new age (xii 5-23) the sy ag ap a RM eM a nt of Jem” trtzoiig in ripe nd tyra Sap Ene ects tly Nanri ed ot 0 19 goonnony tn igs tow i wot ete eas er Sen Soy Sate Bakar 3 ai Hes Tra WM, ean, Tae King closing scone ofthe eschatological drama (il 24-27), andthe need for vigilance on the part of believers (xl 287) 8). Tied, the Usee-fold structure is prosent in units of small and intermediate sve, with smaller threefold sections within overarching three-fold sections. The three-part dimension is indicated by means of repe- tition: wll 5-23: gadmere «- Bhbnote.. Bbdmere xl 9-13: nap Aéoovoe 0. wad wapsdiboreg «+ wal RapaRGoe; xl 24-27! & ecg ee fudgg «wal bye yal re; 32-37" Yoyo ‘enyeeiee- props, The structure of the unit, therfore, is as fellows: (2) Kat bnropevoubvs abe be abt ee 160 gaa iret ai b "Wyo eer ab (2) Kat xedradvn abrod dxngiea advby 34) (0) 68 type Fokare Néyery abot, adres Padre ‘eepabcavan dal repairs = al rapa: (xl 9-13) adnere (sil §-23) "ADD by bean a lpg ged cy Ow bay valine. ral sire. (xi 24-27) ep Bt fadpagbalon oms adres dypumee be yes senate oy srenopstee (si 32-37) (ati 3-2) Like the previous tee: pat interludes, this unit begs with specific reference to dlsciples in the context of Jesus’ travel out of the area {Geegsioyan) in which the preceding action was lested. In contrast (o the soenes in vit 27 4§ where the dieiples would not initiate Interaction until the secon! part, disciples Haitiate the questioning in both the fist and second parts of sil 3-37. The initiative of the 2) Pusch, Naherwtagen torts A. ous, New ight om te ‘arlied Gorpls Soon Mathon Soles (Vinca und Caton: Cen Ua ‘rity rem, ops ats Keene, Region atoisiples in the ist and second parts ereates the setting then for the third part in which Jesus exhorts and instructs Peter, Andrew, SJames, and. John at length by means of direct speech. Also in ‘tras to the previous interhudes, the narrational comment leading fio the third part does not contain me ae, get, rdneordie. Instead, the author ses another favorite narrational Comment, pte Myer ednetg™) to introduce the spoeth in which Ihe summons, exhorts, instraets, and commissions bis disciples “the verse immediately after si 4-37 shifts abruptly to temporal reference! It was now two days before the Passover and the Feast ‘Sr Untenvened Bread” (xv 2)- Examination ofthe other interludes Indicates that four wf the ae are immeiatly suoomded Dy a omporal reference, The narration after 114-20 locates the episode the sabbath” @ 24: sg aan; the narration alter vil 27~ iar locates the epiode "aftr six days (b 2 der Stas) h fharation after feat tt locates the episode “on the next day’ (ot 2a: of Eraiqun), andthe pastation aller xt 3-37 toates the reat "two day belore the Passover and the Feast of Unleavened Dread” iv 3s dy oo 8 mde wal sk Rae yd lo fap) "The presence of temporal statements immediately after these ‘thecespart units raises the posiity that each wit functions Ike interlude, period of interaction in whieh linear progeesion in the narrative becomes subordinate toa rhetorical progression that fences Its elimax in a surninons by Jesus to his disciples, The ‘Setorica progression portrays Jesus moving ot from one leation i vcipen aml entering into interaction that ereates the Rating for a apecitic challenge to the person who will agcept the he of diese, Ermeialy after te teu tit ends with ‘immons, the narrative program begins with a specific temporal Felerence, Within te inte isl, however, sbetorial progres ‘Gow linked with itinerant movement dominates the sequence, For his reason, speifie teraporal references are bent (rom the nar tative framework as the thee parts unfold 1m Se Pavan, Redaction Sit 2) Sisal mgr scterice fer 7-49 seus in 35, (by ten se ch thy te sages or Se ate tes ee immedatey after 79, Doweve, the Tee eto a ar whan he cama De ser Wee teimmeditty tert so the eave nope eee onp sbiakJese and King Hered actions wih JOM henna ‘nE-SrEP PROGRESSION 2 ARK 3 Conervston Sheen eae Eee arameetome eee ‘adhe, quia), or sends (dnoories) his disciples. ° sire ucuteereers eae Sg ne shane . = pee : See =< Section 3 wir. 4-6, 753 Teacher wage 26 Pes of Dts within ey Seton 4 iar, 8-33.34 ‘The Sono Man: Safer ae Death and Remmeton be aes Stragle oer the Central Dimensions ofthe ‘Teacher's Value. Sytem Section $x 46-48, 492, x 1-1 The Som of Davide Power “Teaching in Jerse ivan ag Aadesing General Toes in able Forums™ [YERION x. ROBBINS. Section 6 xi -2,3-4,5-37 The Teacher Prepares His Discipes for His Absence sed Return asSon of Man xiv exw a7 Unwilingness to Accept the Necessity of the Arrest, Trial, and Death of the Teacher Conclusion xvh 8 ‘White the ramifications of this outline forthe Gospel of Mark must toe pursed in other settings than this article, suie it to say that these interludes carry the reader through the complete eyele of relationship between a teacher and his student disciples in Gracco- Roman culture. The stages of discipleship introduced by these interludes reflect the intersection of Jewish traditions about prophet-teachers with Grasco-Roman traditions about itinerant proacher-teachers who gather student-diseiples and systematically ‘ransmit a system of thought and action to them until death takes ‘thom away). Thostagein whieh a"fllowing” relationship sini {ed and thestage n whieh sucha relationship is ended have a heritage nboth Israelite and Gracco- Roman tradition. Theintermediatestag- fs that present the teaching learning process, however, appear to be ‘dosninated by Graeco-Rostan eatural influences wpon Judaism and instanity during the Hellesistic period. In Mark i7-xik 44, the Aisiples go through stages of interaction with Jesus Uiat are characteristic of the eyelo of rslationshipe that siudent-discples ‘experience with people ike Sorates and Apollonius of Tyana, In-conelusion, his outline suggests that the Gospel of Mark stands at the interface of Jewish and Graeco-Roman traditions, feflecting Impulges both irom traditions attached to Isradite leaders like Moses and Elijah and impulses fom Gracco-Roman traditions about itinerant preacher-teachers who gather student dlsciples around them, The convergence of these impulses leads to the compesition of a narrative in which the teacher-Messah Jesus systematically summons, instructs, and commands people much like Yahvteh summons, instructs, and commands in Israelite tradition and much lke itinerant preacher-teachers summon, instruct, and command people in Graeco-Roman tradition, 1%, Vor on exclnt survey of itinerant preacher teachers in the Medi terranen wo ne Watt te Lites The Wandering Pear 00 ‘SxiatFige tthe Roman Empire (Unpabiaod Ds, Mbsrtaton; Now ‘Yorn: Canta avery, 967