SUMMARY
Mark grounds the ministry of John the Baptist and Jesus in the prophets of the Old Testament.
ANALYSIS
Mark introduces John the Baptist with a pastiche of prophetic imagery that connects him to the entirety of the prophetic tradition. He begins with a quotation that combines words from both a major prophet (Isaiah 40:3) and a minor prophet (Malachi 3:1). He references a third prophet, Elijah, through the description of John’s clothing (cf. 2 Kings 1:8). Finally, the location in the wilderness and the Jordan River evokes Israel’s first great prophet, Moses.
Mark then weaves the preparatory themes of his quotation together with the tradition that the return of the prophet Elijah would precede the MessiahThe Messiah was the one who, it was believed, would come to free the people of Israel from bondage and exile. In Jewish thought the Messiah is the anticipated one who will come, as prophesied by Isaiah. In Christian thought Jesus of Nazareth is identified... More (Mark 9:13). The entrance of Jesus onto the scene places Jesus within this prophetic lineage and establishes him squarely within Israelite tradition. Mark takes pains to point out, however, that Jesus is not merely a prophet like John. John the Baptist himself points out the contrast: his baptismJesus was baptized (literally, "dipped") in the Jordan River by John the Baptizer, at which time he was acclaimed from heaven as God's Son, the Beloved. Much later baptism became one of the sacraments of the Church, the action by which a person is incorporated... More is with water, whereas Jesus will baptize with the HolyHoly is a term that originally meant set apart for the worship or service of God. While the term may refer to people, objects, time, or places, holiness in Judaism and Christianity primarily denotes the realm of the divine More Spirit (1:8). Further, Jesus’ baptism becomes a theophanyTheophany describes the undoubted appearance of God to human beings. Biblical examples of theophany are the appearance of God to Moses in the burning bush and God's appearance to the disciples on the mount of Transfiguration. More (i.e., an appearance of God), wherein Jesus is proclaimed as God’s beloved Son.
The baptism scene also serves as the first part of a literary device known as an inclusioInclusio is a literary device in which a writer places similar material at the beginning and ending of a work or section of a work. For example, Mark's gospel contains an inclusio in which Jesus is recognized (at his baptism and crucifixion) as God's Son. More. In an inclusio, an author frames their story by beginning and ending with the same motif or theme. Mark begins his Gospel with the motif of the heavens tearing and he returns to this same motif at the end of the Gospel when the curtain of the TempleThe Jerusalem temple, unlike the tabernacle, was a permanent structure, although (like the tabernacle) it was a place of worship and religious activity. On one occasion Jesus felt such activity was unacceptable and, as reported in all four Gospels, drove from the temple those engaged... More tears at Jesus’ death. This inclusio serves to tie the narrative together and also to highlight Mark’s contention that with the coming of Jesus, God can no longer be contained.
