Forgiveness That Inspires Repentance (Luke 24:34) , , ...

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Taking notice of the aspect and Aktionsart of the verbs in the passion narrative can help the reader appreciate the drama of Jesus death in a deeper way (Luke 24:3249). Verbal aspect refers to the way in which verbs show the viewpoint or perspective of the author concerning an event. When the viewpoint is external or seen from the outside, the aspect is perfective. When the viewpoint is internal or seen from within the event as it unfolds, the aspect is imperfective. Aktionsart (a German word which means type of action) gives much more specific information about the verb. It takes into consideration the context of how the verb is used and shows how the action takes place. Now imagine the crucifixion of Jesus unfolding like scenes from an epic play on the stage of human history. The aorist verbs: (they came), (they crucified), (they cast [lots]), and (they mocked) form the narrative backbone of the opening scene as the characters perform their respective parts (vv. 3336). The perfective aspect of the aorist verbs offers an external viewpoint of the characters actions, and we the readers see the scene of Jesus death initially from a distance. Or, to use the metaphor of the camera lens, the perfective aspect offers the zoom-out or panoramic view of Calvary. Then the stage director and master story-teller Luke zooms-in on the cross of Jesus with the use of the imperfect verb (v. 34). The imperfective aspect of moves us into closer proximity of the cross. Time almost seems to slow down when we, along with the soldiers, the crowds, the religious rulers,

Many Bibles include a footnote stating that v. 34 is not found in some of our earlierst manuscripts, yet the prayer of forgiveness is arguably original to Jesus and rightly included in Lukes gospel. The prayer may not have been recorded by the evangelist Luke himself but its very early attestation in our Greek manuscripts indicate that this saying of Jesus was authentic, part of the oral traditions transmitted by the church, and preserved here by an unknown copyist because it fit the context of Lukes gospel well. The saying also makes narrative sense within LukeActs as a whole since it provides the inspiration for Stephens similar prayer of forgivenss in Acts 7:60.

and the two criminals on his right and left, hear Jesus say: Father, forgive them for they do not know what they are doing. The interpreter might be tempted to see the Aktionsart or kind of action for to be repetitive and translate as an iterative imperfect. We would then read to mean: Jesus kept on saying, Father, forgive them... While the iterative imperfect is an exegetical possibility, it is better to translate as an instantaneous or dramatic imperfect. As a dramatic imperfect, is translated: Jesus said. But it also means that he said with intensity, Father, forgive them!... The imperfect not only brings us the readers closer to the cross (aspect), but it is used here to convey a vivid, emotion-laden, time-stopping declaration of forgiveness (Aktionsart). It is an awe-inspiring moment that stuns all onlookers. Drawn into the narrative ourselves, we realize that Jesus prayer was not only for his executioners, but also for us whose sins ultimately crucified Jesus rather than the actual nails (cf. Acts 2:36). One of the two criminals who hung alongside Jesus was especially shaken by the prayer. This bandit confessed that as a sinner he was rightly being judged by God for what he had done (v. 41). He humbly said (): Jesus, remember me when you come into your kingdom (v. 42). The first (by Jesus; v. 34) inspired the second (by the criminal; v. 42). One dramatic imperfect was met with another. In other words, Jesus prayer of forgiveness was answered by the bandits own prayer of repentance. As the camera starts to zoom-out and return to a panoramic view of Calvary, we are left with Jesus promise: I say to you, Amen! Today you will be with me in paradise (v. 43). This same offer of forgiveness is available to all who respond to Jesus not with the anger of the first bandit (v. 39) but the brokenness, humility, and repentance of the second. Max J. Lee