Hellen Mardaga, «Note Sur La Triple Mention Des Disciples En Jn 18,1-2», Vol. 16 (2003) 117-131
This contribution deals with the threefold reference to the disciples in
Jn 18:1-2 and pays special attention to the double mention of them in 18:1.
In literary criticism there is discussion whether the second part of this
repetition 18:1b (ei0sh=lqen au)to\j kai\ oi9 maqhtai\ autou=) is secondary. In
the author’s view, however, 18:1b forms an integral part of the section 18:1-2
and cannot be seen as a later addition of a redactor. This threefold mention
illustrates the creative style of the evangelist. Not only does it fit in with the
rest of the pericope, but also coheres well with other passages of the Fourth
Gospel.
118 Hellen Mardaga
lièrement apparente dans leurs récits de la Passion et des apparitions2.
Commentant ces récits chez Lc, M.A. Matson essaye d’indiquer les élé-
ments repris de Mc et Mt. Les autres parties du texte ne sauraient dès
lors provenir que de la main créative de Luc, de la source L, de certaines
traditions orales ou de l’influence de l’évangile de Jean. Cette dernière
éventualité constitue la question prioritaire de son étude3. L’ouvrage de
M.A. Matson est le point de départ de cet article sur la triple mention
des disciples en Jn 18,1-2 qui a pour objectif principal de démontrer que
la deuxième partie du verset 18,1 εἰς ὃν εἰσῆλθεν αá½Ï„ὸς καὶ οἱ μαθηταὶ
αá½Ï„οῦ, n’est pas un ajout ultérieur mais cadre bien avec le contexte de la
péricope et le style répétitif du quatrième évangeliste.
I
Au chapitre trois de son livre M.A. Matson discute les ressemblances
entre Jean et Luc et fait remarquer qu’il s’y trouve trois correspondances
principales entre Lc 22,39 et Jn 18,1(2)4 :
1. Le nom Γεθσημανί fait défaut, ce que l’auteur appelle ″une omission
commune‶5. L’absence de ce toponyme dans les deux textes ne se présente
pas comme un argument particulièrement fort pour faire admettre un
rapport nécessaire entre ce verset de Lc et le quatrième évangile6.
Matson, In Dialogue, 18: “As stated earlier, the aim of this study will be relatively
2
narrow: an examination of the Luke-John relationship from the perspective of Luke. Simply
put, the question I want to consider is this: Is it reasonable to suppose that Luke knew and
used John, either its final form or some earlier recognizable form, in the composition of the
Third Gospel? In order to test that thesis, I will focus on [sic] my attention on the Passion
and Resurrection narratives of Luke, which are the richest source of material for Luke-John
similaritiesâ€.
Matson, In Dialogue, 263: “I will attempt to clarify the elements of the Lukan story
3
that are derived from Mark, either directly or with some modification, and those derived
from Matthew. From that analysis, it will become possible to identify unique material that
cannot be traced back to Mark or Matthew. This unique material could have come from
Luke’s creative hand, from a special written source (L), from some oral traditions or from
the influence of the Gospel of John. It is, of course, the last possibility that is the focus of
this studyâ€.
Matson, In Dialogue, 95: “Lk 22,39; Jn 18,1 Jesus á¼Î¾á¿†Î»Î¸ÎµÎ½ alone, with his disciples fol-
4
lowingâ€, 117: “Lk 22,39; Jn 18,2 Mount of Olives was frequently visited†“Lk 22,40; Jn 18,2
Gethsemane is called ‘the place’â€, p. 146: “Lk 22,40; Jn 18,1 Name Gethsemane is absentâ€.
Matson, In Dialogue, 145: “Common Omissionsâ€.
5
Matson, In Dialogue, 148: “The common omission of material from the Mark/Matthew
6
narrative is difficult to evaluate. The mere common absence of material is, by itself, hardly
indicative of a literary relationship. In particular with Luke and John, the difficulty is
intensified in that much of John’s Gospel is widely different from the Synoptics; therefore,
any omission in Luke might simply be coincident with the absence of similar material in
John†et sur 291: “While the absence of the term ‘Gethsemane’ is intriguing in light of its
common absence in John, it does not offer a strong link to John or to other possible sources
behind Lukeâ€.