By Mark Edwards
This pioneering observation embraces the total scope and topics raised in John's Gospel, supplying an enticing and perceptive analyzing. Mark Edwards explores a various variety of excerpts and artistic responses, with specific emphasis at the remedy of the Gospel in English poetry. Explores the various topics and matters raised in John’s Gospel, and considers its impact on figures from Saint Augustine, to Dorothy Sayers and Bob Dylan. Treats recognized interpreters equivalent to Thomas Aquinas besides lesser-known figures comparable to the Gnostic Heracleon, and the sixth-century hymn-writer, Romanos. Brings historic and sleek commentators into discussion with one another, and takes a severe stance in the direction of a few parallels drawn by way of sleek students among the Gospel and the encircling pagan tradition. good points excerpts from a large choice of poets who provide an artistic interpretation of John’s Gospel, and considers many inventive representations. means that resourceful reaction can light up a studying of the Bible the place merely serious and ancient research has proved unsatisfactory. An obtainable creation and huge part notes deal with interpretations of the Gospel from antiquity to the current. released as a part of the ground-breaking Blackwell Bible Commentaries sequence. additional information approximately this sequence is on the market from the Blackwell Bible Commentaries web site at http://www.bbibcomm.net/
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Extra resources for John Through the Centuries (Blackwell Bible Commentaries)
Sample text
318 Migne). Verrochio, assisted by Leonardo, painted the episode according to the Synoptic accounts, but attached to the idle hand of the Baptist a pennant bearing the legend Ecce Agnus (‘Behold the Lamb’). In the medieval pageant of Corpus Christi, the Baptist ‘went before’ the eucharist, showing ‘the same to be the Lambe that takes away our sinne’ (Fisher 1917: 99). Prayer to the Lamb of God who takes away the sin of the world is an indispensable part of the Gloria in sung liturgies, whether the setting be as slow and solemn as Vivaldi’s or as jubilant as that of Beethoven in the Missa Solemnis.
1:33. Contrast the descent and ascent of the angels in v. 52. 12). J. A. T. 20, which perhaps foretells that God will sprinkle the ‘spirit of truth’ like water upon his human emissary. According to Calvin (1959: 33), Bucer compared the token given to Moses at Ex 3:12. 1:34. As Calvin notes (1959: 35) the Baptist knew the Messiah already at Matt 3:14. 2). 30 The Baptist’s Testimony The First Disciples 1:35–7. See vv. 29 and 41. Hutcheson (1972: 26–7) notes with approval that John is taking the opportunity to say privately what he preached the day before.
1:33. Contrast the descent and ascent of the angels in v. 52. 12). J. A. T. 20, which perhaps foretells that God will sprinkle the ‘spirit of truth’ like water upon his human emissary. According to Calvin (1959: 33), Bucer compared the token given to Moses at Ex 3:12. 1:34. As Calvin notes (1959: 35) the Baptist knew the Messiah already at Matt 3:14. 2). 30 The Baptist’s Testimony The First Disciples 1:35–7. See vv. 29 and 41. Hutcheson (1972: 26–7) notes with approval that John is taking the opportunity to say privately what he preached the day before.