Five major apocryphal Acts survive from the early period of the Christian church, the so-called Acts of Andrew, of Paul, Peter, John, and Thomas. In the canonical New Testament, the apostle Andrew, brother of Peter is mentioned only a dozen times. In The Acts of Andrew, his post-resurrection mission and heroic martyrdom are closely detailed in a series of acts or episodes. This study edition of The Acts of Andrew presents a fresh, new translation of the text with cross-references, notes, and commentary. An extensive introduction also sets out the challenge of recovering and reconstructing the original text.

Those who eat my flesh and drink my blood abide in me, and I in them. Dennis R. MacDonald offers a provocative explanation of those scandalous words of Christ from the Fourth Gospelan explanation that he argues would hardly have surprised some of the Gospel's early readers. John sounds themes that would have instantly been recognized as proper to the Greek god Dionysos (the Roman Bacchus), not least as he was depicted in Euripides's play The Bacchae. A divine figure, the offspring of a divine father and human mother, takes on flesh to live among mortals but is rejected by his own. He miraculously provides wine and offers it as a sacred gift to his devotees, women prominent among them, dies a violent deathand returns to life. Yet John takes his drama in a dramatically different direction: while Euripides's Dionysos exacts vengeance on the Theban throne, the Johannine Christ offers life to his followers. MacDonald employs mimesis criticism to argue that the earliest evangelist not only imitated Euripides but expected his readers to recognize Jesus as greater than Dionysos.

In this provocative challenge to prevailing views of New Testament sources, Dennis R. MacDonald argues that the origins of passages in the book of Acts are to be found not in early Christian legends but in the epics of Homer. MacDonald focuses on four passages in the book of Acts, examines their potential parallels in the Iliad, and concludes that the author of Acts composed them using famous scenes in Homer's work as a model.
Tracing the influence of passages from the Iliad on subsequent ancient literature, MacDonald shows how the story generated a vibrant, mimetic literary tradition long before Luke composed the Acts. Luke could have expected educated readers to recognize his transformation of these tales and to see that the Christian God and heroes were superior to Homeric gods and heroes. Building upon and extending the analytic methods of his earlier book, The Homeric Epics and the Gospel of Mark, MacDonald opens an original and promising appreciation not only of Acts but also of the composition of early Christian narrative in general.

These two volumes are the magnum opus of biblical scholar Dennis R. MacDonald, outlining the profound connections between the New Testament and classical Greek poetry. MacDonald argues that the Gospel writers borrowed from established literary sources to create stories about Jesus that readers of the day would find convincing.

These two volumes are the magnum opus of biblical scholar Dennis R. MacDonald, outlining the profound connections between the New Testament and classical Greek poetry. MacDonald argues that the Gospel writers borrowed from established literary sources to create stories about Jesus that readers of the day would find convincing.

Our culture is well-populated with superheroes: Superman, Wonder Woman, Spider-Man, and more. Superheroes are not a modern invention; in fact, they are prehistoric. The gods and goddesses of the Greeks, for example, walked on water, flew, visited the land of the dead, and lived forever. Ancient Christians told similar stories about Jesus, their primary superhero--he possessed incredible powers of healing, walked on water, rose from the dead, and more. Dennis R. MacDonald shows how the stories told in the Gospels parallel many in Greek and Roman epics with the aim of compelling their readers into life-changing decisions to follow Jesus. MacDonald doesn't call into question the existence of Jesus but rather asks readers to examine the biblical stories about him through a new, mythological lens.

Dennis MacDonald is one of the most creative and intellectually innovative New Testament scholars of his generation. In this bold new book, MacDonald dares to re-imagine the textual landscape of early Gospel traditions. Attention is focused on reconstructing two lost Gospel texts, the Logoi of Jesus (the so-called Q source) and Papias' The Exposition of Logia about the Lord. MacDonald develops a new paradigm for reconstructing Q, and in the process generates a text nearly twice as long as traditional reconstructions. This he calls Q+. In relation to Papias' Exposition, MacDonald argues that work was a commentary on three gospel texts - Matthew, Mark and the Logoi of Jesus. Here MacDonald seeks to re-assemble the surviving fragments of Papias' work in their original order and he speculates concerning the material that would have filled the gaps between these fragments. MacDonald's work is brave, challenging, and stimulating. If his ideas prove correct the implication for New Testament scholarship and current understandings of the transmission of the Jesus tradition would be truly revolutionary.--Paul Foster, School of Divinity, University of Edinburgh.

In this groundbreaking book, Dennis R. MacDonald offers an entirely new view of the New Testament gospel of Mark. The author of the earliest gospel was not writing history, nor was he merely recording tradition, MacDonald argues. Close reading and careful analysis show that Mark borrowed extensively from the Odyssey and the Iliad and that he wanted his readers to recognize the Homeric antecedents in Mark's story of Jesus. Mark was composing a prose anti-epic, MacDonald says, presenting Jesus as a suffering hero modeled after but far superior to traditional Greek heroes. Much like Odysseus, Mark's Jesus sails the seas with uncomprehending companions, encounters preternatural opponents, and suffers many things before confronting rivals who have made his house a den of thieves. In his death and burial, Jesus emulates Hector, although unlike Hector Jesus leaves his tomb empty. Mark's minor characters, too, recall Homeric predecessors: Bartimaeus emulates Tiresias; Joseph of Arimathea, Priam; and the women at the tomb, Helen, Hecuba, and Andromache. And, entire episodes in Mark mirror Homeric episodes, including stilling the sea, walking on water, feeding the multitudes, the Triumphal Entry, and Gethsemane. The book concludes with a discussion of the profound significance of this new reading of Mark for understanding the gospels and early Christianity.

This study focuses on the apocryphal Acts of Andrew (c. 200 CE), which purports to tell the story of the travels, miracles, and martyrdom of the apostle Andrew. Traditional scholarship has looked for the background of such writings in Jewish and Christian scriptures. MacDonald, however, breaks with that model and looks to classic literature for the sources of this story. Specifically, he argues that the Acts represent an attempt to transform Greco-Roman myth into Christian narrative categories by telling the story of Andrew in terms of Homeric epic, in particular the Odyssey. MacDonald presents a point-by-point comparison of the two works, finding the resemblances so strong, numerous, and tendentious that they virtually compel the reader to consider the Acts a transformative rewriting of the epic. This discovery not only sheds valuable light on the uses of Homer in the early church but also significantly contributes to our understanding of the reception of Homer in the empire as a whole.

In this book MacDonald guides his reader through Luke-Acts from beginning to end to identify and interpret the author's imitations of classical Greek poetry, arguing that Luke's two-volume work was a prose epic to provide his readers with a foundation myth for the new social reality that the Christian Church had become.

In this book, Dennis R. MacDonald argues that the intertextuality of the Synoptic Gospels is best explained not as the redaction of sources but more flexibly as the imitation of literary texts, such as the Iliad and the Odyssey.