Alan Culpepper commented that reading the arrest and trials of Jesus is, for him, like watching film footage of John Kennedy’s motorcade winding through Dallas in 1963 or the 1986 launch of the Challenger space shuttle. We know what is coming, we know we have no power to undo them, but are compelled to watch because we honor the loss of great people doing what was theirs to do.
At a more intimate level we know that the encounter of Jesus and Pilate is a scene wherein both face the test of their convictions. Pilate knows and announces the verdict – innocence, but in the face of an unruly crowd does not have the conviction to persevere. Neither Herod nor Barabbas provide an avenue to resolved the crisis when the leaders of Jewish Jerusalem are ever at work to animate the crowd to bend Pilate’s to their will. Continue reading
Where in the scene of Peter’s Denial (Luke 22:54-65), the focus and center of the narrative was Peter, here the focus returns to Jesus. Is this trial (hearing, meeting) by the religious authorities of Jerusalem, the role of Jesus as prophet and Messiah is at the forefront of the narrative. Jesus had foretold the primary events of this scene—both Peter’s threefold denial before the crowing of the cock (v. 34; vv. 56–61) and his own maltreatment (esp. 18:32; cf. 20:10–11 and 22:63–65). Continue reading
Today is known as “Spy Wednesday”, a reference to the betrayal of Jesus by Judas Iscariot for thirty silver coins. This event is described in the three Synoptic Gospels: Matthew 26:14-16, Mark 14:10-12, Luke 22:3-6. We know that Judas’ betrayal was but part of a larger vortex of events that would lead to Jesus’ arrest, trails, scourging, crucifixion, and death. Only Matthew (Matthew 27:3-6 ) narrates Judas’ own death.
For all this, Judas’ name is synonymous with betrayal, and Dante, in Canto XXXIV of his “Inferno,” places him in the very lowest circle of Hell, being devoured eternally by a three-faced, bat-winged devil. Virtually every image we carry about Judas comes from Dante or a later artistic portrayal of the man – e.g., reddish hair color (Harvey Keitel in “The Last Temptation of Christ”) or his fiery disposition (“Jesus Christ Superstar”). Continue reading