04_Biblica_1_A_Ossandon_Layout 1 05/11/12 12:18 Pagina 395 395 BARTIMAEUS’ FAITH Finally, Jesus’ statement in 10,52a shows that he can see what others cannot: Bartimaeus’ faith. Jesus does not speak directly about himself, but he provides the disciples with an example of what following him means. IV. Analysis of Point of View in Mark 10,46-52 This section intends to analyse the steering of point of view in Mark 10,46-52 and its consequences for the interpretation, follow- ing the methodology proposed by Yamasaki 46. He has gathered to- gether concepts and tools useful to analyse the point of view, and has arranged them according to the typology of Uspensky, who dis- tinguished five planes: temporal, spatial, psychological, phraseo- logical, and ideological 47. I will follow Yamasaki’s proposal with some differences. In the first place, nothing will be said about the phraseological plane, since, as Yamasaki recognizes, it has practically no relevance for biblical narratives 48. For the sake of briefness, I will omit a detailed analysis of spatial, temporal, and psychological planes of the point of view. In fact, for those who are interested in the meaning of the texts and not only in the formal features of their composition, the ideological point of view is the most important 49. 1. The Temporal, Spatial, and Psychological Planes of Point of View According to the analysis of the temporal point of view, the most important moment is to be placed in 10,49-52b, where the rhythm diminishes to the speed of a scene 50. Speaking about the division 46 YAMASAKI, Watching, 152-187. 47 B. USPENSKY, A Poetics of Composition. The Structure of the Artistic Text and Typology of a Compositional Form (Berkeley, CA 1983). 48 YAMASAKI, Watching, 172. 49 Yamasaki is right when he complains that the analysis of narrative point of view is too often reduced to a theological interpretation dressed as literary criticism. But I do not share his negative judgment of biblical scholars just because they concentrate upon the ideological plane of the narrative point of view, putting aside the other planes: YAMASAKI, Watching, 80 and 107. 50 Narratologists distinguish four basic forms to express the temporal du- ration: pause, ellipsis, summary, and scene. The scene is defined by the co-