Secret Gospel of Mark - Wikipedia. The Secret Gospel of Mark is a putative non- canonical. Christiangospel mentioned exclusively in the Mar Saba letter, a document of disputed authenticity, which describes Secret Mark as an expanded version of the canonical Gospel of Mark with some episodes elucidated, written for an initiated elite. In 1. 97. 3, Morton Smith, a professor of ancient history at Columbia University, reported having found a previously unknown letter of Clement of Alexandria in the monastery of Mar Saba on the West Bank transcribed into the endpapers of a 1. Ignatius of Antioch. The original manuscript was subsequently transferred to another monastery, and the manuscript is believed to be lost. Further research has relied upon photographs and copies, including those made by Smith himself. The revelation of the letter caused a sensation at the time, but was soon met with accusations of forgery and misrepresentation. Subsequent study, including handwriting analysis of higher quality color photographs of the document, first published in 2. Craig A. Evans and Emanuel Tov to conclude the work is a hoax, with Smith being the most likely perpetrator. The Gospel of Jesus' Wife is a papyrus fragment with Coptic text that includes the words, "Jesus said to them, 'my wife. The text received widespread attention. Home of the World’s Largest Selection of sheet music, music scores, and online sheet music for all instruments and levels! Order printed titles or download sheet. It presented a letter of Clement of Alexandria to one Theodore, whom he seeks to warn against a Gospel of Mark falsified by the gnostic sect of Carpocratians. Clement concedes that it gives a 'more spiritual' version of Mark and quotes from it. This letter is consequently referred to as the Mar Saba letter. In his book, Smith published a set of black- and- white photographs of the text. He published a second book for the popular audience in 1. However, in 2. 00. Guy Stroumsa reported that he and a group of other scholars had seen it in 1. ![]() During a visit to Mar Saba, Stroumsa, along with the late Hebrew University professors David Flusser and Shlomo Pines, Greek Orthodox Archimandrite Meliton, and a Mar Saba monk, relocated the document where Smith had left it. Stroumsa, Meliton, and company determined that the manuscript might be safer in Jerusalem than in Mar Saba. They took it back with them, and Meliton subsequently brought it to the Patriarchate library.
The group looked into having the ink tested but the only entity in the area with such technology was the Jerusalem police. Meliton did not want to leave the manuscript with the police, so no test was taken. Stroumsa published his account upon learning that he was the last living Western academic to have seen the letter. In 1. 97. 7, librarian Father Kallistos Dourvas removed the two pages containing the text from the book to photograph and re- catalog them. However, the re- cataloging never happened; Kallistos later told Charles W. Hedrick and Nikolaus Olympiou that the pages were then kept separately alongside the book at least until his retirement in 1. Some time after that, however, the pages were put elsewhere, and various attempts to locate them since that time have been unsuccessful. Olympiou suggests that individuals at the Patriarchate Library may be withholding the pages due to Morton Smith's sensational use of them. Father Kallistos gave his color photographs of the manuscript to Hedrick and Olympiou, who published them in The Fourth R in 2. The ink and fiber were never subjected to examination. Its purpose was supposedly to encourage knowledge (gnosis) among more advanced Christians, and it was said to be in use in liturgies in Alexandria. The first is to be inserted, Clement states, between what are verses 3. Mark 1. 0: And they come into Bethany. And a certain woman whose brother had died was there. And, coming, she prostrated herself before Jesus and says to him, . And Jesus, being angered, went off with her into the garden where the tomb was, and straightway a great cry was heard from the tomb. And going near Jesus rolled away the stone from the door of the tomb. And straightway, going in where the youth was, he stretched forth his hand and raised him, seizing his hand. But the youth, looking upon him, loved him and began to beseech him that he might be with him. And going out of the tomb they came into the house of the youth, for he was rich. And after six days Jesus told him what to do and in the evening the youth comes to him, wearing a linen cloth over his naked body. And he remained with him that night, for Jesus taught him the mystery of the kingdom of God. And thence, arising, he returned to the other side of the Jordan. However, just before that, Clement says, . No separate text of the secret gospel is known to survive. Analysis. He indicated that the two quotations go back to the original Aramaic version of Mark, which served as a source for the canonical Mark, but the quotations also reference the Gospel of John. Jesus baptises the resurrected dead man in a possible same- sex act, and the libertinism of Jesus was then later suppressed by James, the brother of Jesus, and Paul. Nor is it established whether the letter derives from Clement of Alexandria or not. Linguistic indications speak for authenticity. The text contains none of the errors typical in the manuscript tradition. Bruce (1. 97. 4) saw the story of the young man of Bethany clumsily based on the raising of Lazarus in the Gospel of John. Thus he sees the Secret Mark narrative as derivative, and denies that it could be either the source to the story of Lazarus or an independent parallel. Brown (1. 97. 4) came to the conclusion through his own research that the author of Secret Mark most likely relied on the Gospel of John at least from memory. Grant (1. 97. 4) found in Secret Mark elements from each of the four Canonical Gospels . Helmut Merkel (1. Secret Mark is dependent on the four Canonical Gospels after analyzing the key Greek phrases. Neirynck also shows other similarities. Ron Cameron (1. 98. Helmut Koester (1. Secret Mark preceded the canonical Mark, and that the canonical Mark is in fact an abbreviation of Secret Mark. John Dominic Crossan (1. Koester: . Wright (1. Secret Gospel of Mark a considerably later gnostic adaptation of Mark in a gnostic direction. Instead, it may be the case that . If this scenario is the case, the excerpts Clement quotes are additions to the Gospel were actually part of the original, but were edited out by scribes (possibly because of the perception of homoeroticism). Since the only knowledge we have of . Neusner was Morton Smith's student and admirer but later, in 1. Smith publicly denounced his former student's academic competence. This dissipated with the publication of color photographs in 2. Guy Stroumsa and several others had viewed the manuscript in 1. Brown noted that he was in no position to do so. The manuscript was still where Smith had left it when Stroumsa and company found it eighteen years later, and it did not disappear until many years after its relocation to Jerusalem and its separation from the book. Carlson writes that the academic reception of Secret Mark is represented by Larry Hurtado as. The alleged letter of Clement that quotes that it might be a forgery from more recent centuries. If the letter is genuine, the Secret Mark to which it refers may be, at most, an ancient but secondary edition of Mark produced in the second century by some group seeking to promote its own esoteric interests. Hunter entitled The Mystery of Mar Saba, that first appeared in 1. Price also drew attention to this novel. Carlson also believes that his comparisons with Morton Smith's typical rendering of Greek letters (such as in his own correspondence and notes) reveal that the unusual formation of the letters theta and lambda in the Mar Saba text matched Smith's own peculiar formation of those letters. Brown in numerous articles. Paananen has demonstrated that “all the signs of forgery Carlson unearthed in his analysis of the handwriting”, such as a “forger’s tremor”, is only visible in the images Carlson used for his handwriting analysis. Carlson chose “to use the halftone reproductions found in .
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