Wim J.C. Weren, «The Macrostructure of Matthew’s Gospel: A New Proposal», Vol. 87 (2006) 171-200
The weakness of the proposals concerning the macrostructure of Matthew’s
Gospel made by Bacon and Kingsbury is that they depart from rigid caesuras,
whilst a typical characteristic of the composition of this Gospel is the relatively
smooth flow of the story. On the basis of the discovery that the various
topographical data are clustered together by means of three refrains we can
distinguish three patterns in the travels undertaken by Jesus. This rather coarse
structure is further refined with the use of Matera’s and Carter’s distinction
between kernels and satellites. Kernels are better labelled as “hinge texts”. The
following pericopes belong to this category: 4,12-17; 11,2-30; 16,13-28; 21,1-17;
26,1-16. Each of them marks a turning point in the plot and has a double function:
a hinge text is not only fleshed out in the subsequent pericopes but also refers to
the preceding block. It is especially these “hinge texts” that underline the
continuity of Matthew’s narrative and should prevent us from focussing too much
on alleged caesuras.
The Macrostructure of Matthew’s Gospel 189
overture hinge corpus hinge finale
1,1–4,11 4,12-17 4,18–25,46 26,1-16 26,17–28,20
The overture (1,1–4,11) is a textual unit, in which the narrator
presents an image of the origin and identity of Jesus, and his future
task. His origin is mentioned in Matt 1–2 (gevnesi" in 1,1.18). Various
descriptions clarify his identity: son of David, son of Abraham (1,1),
Messiah (1,16), Emmanuel (1,23), king of the Jews (2,2), ruler or
shepherd of the people of Israel (2,6), Nazorean (2,23), Son of God
(2,15; 3,17). Jesus’ future task is described twice: he will save his
people from their sins (1,21) and he is to fulfil all righteousness (3,15).
A disadvantage to the regularly applied term “prologue†is that it gives
the impression that 1,1–4,11 is a non-narrative introductory section,
like the prologue in John 1,1-18. The term “overture†does more
justice to the fact that Matthew’s story about Jesus already begins in
1,18. We can distinguish two sections within the overture as a whole
(1,1–2,23 and 3,1–4,11) (29). The caesura between 4,11 and 4,12 is,
however, much deeper than the one between 2,23 and 3,1; not until
4,12 does the public ministry of Jesus begin.
In the finale (26,17–28,20), Jesus’ suffering and death and his
resurrection are described. The term “finale†has been chosen in order
to express that the passion narrative is an integrated constituent that
forms the climax of the entire book.
The overture and the finale are connected with one another in
many respects. The stories about the beginning of Jesus’ life and the
preparations for his mission point towards the passion narrative, and
conversely, the last part points back to the beginning again (30).
The corpus covers the whole of Jesus’ public ministry. That this
lengthy piece is a literary unit is confirmed by the fact that the narrator
has his main character hold five discourses that are arranged
chiastically in relation to one another. The “programme†discourse at
the beginning, the Sermon on the Mount, has a counterpart in the
Eschatological Discourse; the Missionary Discourse and the
Community Discourse discuss the disciples’ mission and their mutual
(29) W. DAVIES – D.C. ALLISON, The Gospel according to Saint Matthew. A
Critical and Exegetical Commentary (ICC; Edinburg 1988) I, 286-287, are of the
opinion that there is a deep caesura between 2,23 and 3,1.
(30) A detailed list of correspondences is to be found in W. WEREN, Matteüs
(Belichting van het bijbelboek; ’s-Hertogenbosch – Brugge 1994) 253-255.