The Procession with Palms: Mark 11:1-10 or John 12:12-16
Jesus’
entry into Jerusalem, while doubtless the
major theme of this Sunday in popular estimation,
is both historically and liturgically merely
a subsidiary theme, serving only as a prelude
to the passion. Any homily dealing with the
entry into Jerusalem should make this clear.
As usual in the exegesis of the Gospels, we have to distinguish between three
levels of meaning in this pericope: the historical level, that is,
what actually happened in the life of the earthly Jesus and what he intended
by it; the tradition, or the way the episode was shaped and interpreted
in the early communities; and the redaction, or the use to which the
evangelists put the tradition.
1. The historical level. Jesus went up to Jerusalem to deliver his final
eschatological challenge to Israel at the very heart of its corporate and religious
life. His entry into Jerusalem to cleanse the temple was a symbolic expression
of this eschatological challenge.
The final salvation and judgment of God were breaking through. Israel must
decide. If it accepts its salvation, all well and good; if not, then (as the
cleansing of the temple indicates) the present order of things will be replaced
by God’s new, eschatological order.
As Jesus approaches Jerusalem, he expresses this challenge by riding on a colt
(a horse or an ass? Linguistically, “horse” would be possible and
more expressive of the challenge, but asses were—and are—more common
in Palestine).
Two features suggest that the entry may have taken place at the feast of Tabernacles
(or at the Dedication) rather than at Passover: the palms and the singing of
Ps 118:25. “Blessed is he who comes” in that case would not originally
have had a messianic significance but was merely a welcome to the pilgrims
indiscriminately.
2. The level of tradition. Jesus’ triumphal entry was messianically “overexposed” (Bornkamm).
His work undoubtedly evoked messianic hopes and fears, and therefore he may
even have been greeted at the entry as the prospective Messiah in a politically
Davidic sense. But it is hardly likely that he intended to create this impression
overtly.
The Church, however, reinterprets the story in the light of Easter faith. It
makes Jesus act as sovereign “Lord” (v. 3), directing the whole proceeding.
The miraculous discovery of the ass suggests to the earliest Palestinian community
the supernatural foresight of the prophet-man of God, and in the Hellenistic
Church that of the “divine man.”
It is probable that the community further added to the original Hallel psalm
the words of verse 10a as an expression of its faith. The term “our father
David” would be unusual in Judaism, and the whole phrase looks like a
liturgical acclamation of the early community.
At the level of tradition, then, the entry is an overt expression of Jesus’
messiahship conceived in terms of the Davidic Messiah, the eschatological prophet,
the Kyrios (Lord), and the divine man.
3. The redaction. Mark in turn attaches the story to his passion narrative.
The effect is to say that the messianic images (son of David, eschatological
prophet and man of God, Lord and divine man) are predicable of Jesus only because,
and precisely because, he is the crucified One.
Moreover, the divine-man motifnamely, miraculous foresight displayed
in the discovery of the assnow serves to bring home to the reader that
Jesus, as the Son of man who is to suffer, knows beforehand the whole saving
plan of God and sets the whole plan in motion by his own initiative.
We take John’s version of the story to be, not a fuller redactional modification
of Mark or of the other Synoptists, but an independent version derived ultimately
from the same tradition used by Mark, though at a very early stage of its development.
It lacks the miraculous discovery of the ass, showing that this motif had come
into the pre-Marcan tradition somewhat later.
In John, furthermore, Jesus finds the ass after the acclamation of
the crowd. It is difficult to decide whether this is the earliest tradition
(which would make Jesus’ decision to ride on an animal a response to the crowd’s
acclamation) or a later theological reinterpretation (Jesus wishing to correct
expectation of the Davidic Messiah with a suffering-servant concept).
John has the crowd come out of the city to meet Jesus. Only John mentions that
the branches were of palm. If the entry occurred at the feast of Tabernacles
or the Dedication, this could be historical. The second half of the crowd’s
acclamation (“even the King of Israel”) is worded differently, supporting
our view that this second part is a later expansion.
John, like Matthew (though in a different form, so that John is not using Matthew)
but unlike Mark and Luke, has the citation of Zech 9:9, thus indicating that
the proof text came into the tradition later. Compare also John’s explicit
statement (v. 16) that the disciples did not realize the applicability of the
text from Zechariah until after the resurrection.
At the level of John’s redaction, the following points suggest themselves.
This was not Jesus’ first visit to Jerusalem. Hence, the crowd comes out to
meet him because of his previous words and works at Jerusalem, especially the
raising of Lazarus (v. 18).
The entry in John introduces the episode of the Greeks at the feast (John 12:20-22).
This makes Jesus the King of Israel, not in a narrow, nationalistic sense,
but in a universalistic sense (see, in John, the title on the cross in three
languages).
It is in this sense that we must understand the revelation of Jesus as the
resurrection and the life in the raising of Lazarus. He is that for all people.
John alone tells us that the true meaning of the entry did not dawn upon the
community until after the resurrection, thus conforming to our contention that
there was a development and reinterpretation of the incident in the post-Easter
community.
Finally, we must
note that both Mark and John, by placing the story before
the passion narrative, emphasize what the liturgy itself
emphasizes, namely, that the entry is not an isolated episode
but is introductory to, and subordinate to, the passion.
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Reading I: Isaiah 50:4-7
This is the third servant song of Second Isaiah.
The situation presupposed is that Israel in
exile is rejecting the prophet’s
message. The people are “weary” (of his constant predictions of deliverance
despite the continuation of the exile?).
But the prophet is undeterred. God has given him the word and he must deliver
it, even at the cost of personal suffering. And he is confident that God will
eventually prove him right.
In exactly the same way, Jesus’ passion was the outcome of his obedient delivery
of the message of the kingdom despite his people’s rejection, and his constant
reliance that God would prove him right.
The passion and death of Christ are not isolated events but of a piece with his
whole ministry.
The early Church was right in seeing that the servant songs came to rest in the
passion and death
of its Lord.
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Responsorial Psalm: 22:7-8, 16-17a, 18-19, 22-23ab
Psalm 22 is the
passion psalm par excellence. It was probably the
first Old Testament passage to be adopted in the “passion
apologetic” (the term of B. Lindars) of the early community.
After Easter the early Christians had to reconcile, both for their own faith
and for their hoped-for converts from Judaism, their conviction that Jesus was
indeed the expected deliverer with the scandalous events of his passion. They
found their earliest answer in Psalm 22.
This psalm can serve thus because it describes the sufferings of the righteous
in language that astoundingly anticipates the events of the passion, not so much
through mechanical prediction as through the psalmist’s profound insight into
the nature of innocent suffering. But more, it goes on to speak of the vindication
of the righteous one (note vv. 22-23ab, the fourth stanza in the arrangement
of the psalm as used in today’s liturgy).
[Psalm 22 has especially colored the way Mark and Matthew tell the passion story
(less so Luke). The question inevitably arises whether some of the details of
the narration have been taken from the psalm rather than from historical memory.
This may have happened in some of the peripheral details, for example the division
of the garments, but the main facts of the passion stand because of their scandalous
nature. It was this scandalous nature that sent the early Christians to their
Old Testaments, not their reading of the Old Testament that led them to gratuitously
invent fresh scandalous events.]
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Reading II: Philippians 2:6-11
Modern New Testament
scholars are widely agreed that this a hymn composed prior to Paul’s
time. It is often called Carmen Christi, from Pliny’s
description of Christian worship. There is much dispute about its
proper division into stanzas, but the following reconstruction has
much to commend it.
I
Christ Jesus, though he was in the form of God,
did not count equality with God a thing to be grasped,
but emptied himself,
taking the form of a servant,
II
being born in the likeness of men,
and being found in human form he humbled himself
and became obedient unto death
[even death on a cross: added by Paul].
III
Therefore God has highly exalted him
and bestowed on him the name
which is above every name,
IV
that at the name of Jesus
every knee should bow [in heaven and on earth
and under the earth: may be a later
though pre-Pauline, addition]
and every tongue confess that Jesus Christ is Lord,
[to the glory of God the Father: perhaps
added by Paul].
The first stanza
will refer to the pre-incarnate existence of the Christ:
he was of equal status with the Father (see the Old Testament
speculations about the divine wisdom). This status he voluntarily
surrendered and became subject to human bondage to the powers
of evil (“the form of a servant”: some refer this
to the suffering servant, but at this point the hymn refers
to what is common between Christ and all human beings, not
to what distinguishes him from them). The last line of the
second stanza refers to what is unique: he “became obedient
unto death” (Paul emphasizes that that was the scandal—the
death on the cross).
The third stanza marks the turning point of the Redeemer’s way—his exaltation—while
the last stanza speaks of his ultimate triumph over the whole created universe.
The Carmen Christi sets the death of Christ in its total context.
It is at once the nadir of the divine condescension begun in the incarnation
and the ground of Christ’s exaltation and final triumph. |
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Gospel: Mark 14:1-15:47 (long form);
15:1-39 (short form)
The passion accounts are the only parts of the Gospel material
that existed from the first in the form of continuous narratives.
They were probably constructed as Christian Passover haggadahs,
or cult narratives for liturgical recital. Each passion has
its particular timbre and theological emphasis.
The suggestion has sometimes been made that Mark’s narrative combines two earlier
narratives of the crucifixion. Recently a similar suggestion has gone further
and proposed that the two pre-Marcan crucifixion stories that the evangelist
combined in Mark 15:20b-41 express two different theologies of the passion. It
will be helpful for our understanding of Mark to follow up
this suggestion.
The first and earlier narrative, it is suggested, consisted of 15:20b, 22, 24,
27. It would read as follows: “And they led him away to crucify him. And
they brought him to the place called Golgotha. And they crucified him, and divided
his garments among them, casting lots for them, to decide what each should take.
And with him they crucified two robbers, one on his right and one on his left.”
This crucifixion report, it is suggested, is very early. It is impregnated with
echoes of Psalm 22 and Isa 53 (the parting of the garments and the numbering
with the transgressors). This earlier crucifixion narrative represents the stage
at which the passion story was formulated in apologetic terms. How could the
righteous, innocent servant of God have suffered crucifixion, the type of execution
reserved for the worst criminals? Answer: That is precisely the picture of the
righteous servant of God in Psalm 22 and Isa 53.
The second and later tradition of the crucifixion has been found in Mark 15:25,
26, 29a, 32b, 33, 34a, 37, 38. This tradition would read as follows: “And
it was the third hour when they crucified him. And the inscription of the charge
against him read, ‘The King of the Jews.’ Those who passed by derided him. Those
who were crucified with him also reviled him. And when the sixth hour had come,
there was darkness over the whole land until the ninth hour. And at the ninth
hour Jesus cried with a loud voice [uttered a loud cry] and breathed his last.
And the curtain of the temple was torn in two, from top to bottom.”
This narrative interprets Jesus’ death, not as that of an innocent, righteous
suffering servant of God, but as an agonizing conflict between the powers of
light and the powers of darkness. This is an apocalyptic interpretation. The
loud cry of Jesus is an announcement of triumph of the power of light (and implicitly
Jesus’ exaltation), and the rending of the temple curtain a symbolical expression
of that victory.
We have here an interpretation of the death of Jesus that recalls the hymn in
Phil 2:6-11. Jesus is the divine Redeemer who has emptied himself of his divine
glory, and therefore it is concealed from the powers of darkness, who are his
enemies. They therefore crucify the Lord of glory (1 Cor 2:8). His death leads
to his exaltation and triumph over the powers.
Mark does not deny the validity of either interpretation but combines them, allowing
the one to correct the other. Jesus’ death is not just that of the righteous,
innocent suffering servant, for that could be misunderstood as a mere ethical
example (see 1 Pet 2:21-25). His death would then have had no cosmic significance
as the triumph over the powers of darkness.
On the other hand, the triumph over the powers of darkness could be misunderstood
as mere mythology unless it was insisted that this triumph was wrought out in
a real, flesh-and-blood history, in an act of obedience (see Paul’s interpolation
of “even death on a cross” in
Phil 2:8).
It is this combination of the ethical and the cosmic-eschatological that creates
the unique tone of the Marcan passion.
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Reginald H. Fuller
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Copyright © 1984
by The Order of St. Benedict, Inc., Collegeville, Minnesota.
All
rights reserved. Used by permission from The Liturgical
Press, Collegeville, Minnesota 56321 |
Preaching the Lectionary:
The Word of God for the Church Today
Reginald H. Fuller. The Liturgical Press. 1984 (Revised Edition)
pp.
53-55, 245-249. |
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you to Liturgical Press who makes this page possible
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For more information about the 3rd edition (2006) of Preaching the Lectionary click picture above. |
Art by Martin Erspamer, O.S.B.
from Religious
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Used by permission of Liturgy Training Publications. This art may be reproduced only by parishes who purchase the collection
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